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Exclusive Interview: James Hindman and Ray Roderick of 'The Rat Pack Lounge' · The BSB Podcast

• 0:00
  Thank you so much Ray and James for joining me today.
• 0:01
  How are you two doing?
• 0:02
  doing?
• 0:03
  Very good.
• 0:04
  Great, thank you.
• 0:05
  Good to be here.
• 0:06
  Thank you very much.
• 0:07
  Excited to be here.
• 0:08
  We are so excited to talk about the Rat Pack lounge.
• 0:11
  It's coming to the Meadow Book Theater.
• 0:14
  And so to keep us off, I'm just hoping that maybe you two can give us little, kind of like a synopsis or, you know, what's going on in the show.
• 0:21
  So Ray, let's start with you.
• 0:22
  What's the Rat Pack lounge kind of about?
• 0:25
  Well, it's kind of about not wanting to go away.
• 0:30
  that time erases us a little bit, especially if you're a celebrity, to think that you had like the Rat Pack, know, Frank, Dean and Sammy, the idea that as time goes on, we're not
• 0:45
  gonna know who they are.
• 0:46
  Well, that is bothersome to them even more so, right?
• 0:50
  So it's kind of like playing with their egos, who they are and their egos, they get, and the plot is very simple.
• 0:58
  They get,
• 1:00
  they're in heaven and they have a, they need to right a wrong down on earth.
• 1:07
  So they get sent down and they end up in other people's bodies in order to correct this thing that has been a problem.
• 1:13
  And they realize they land in the rat pack lounge and they realize people aren't going to remember us anymore.
• 1:20
  And they, how do we, how do we remain relevant?
• 1:22
  Even though we're not here anymore, we're big stars.
• 1:25
  They should be remembering us and little by little.
• 1:29
  they discover what really matters in life, essentially, what really matters.
• 1:34
  James, do you have any thoughts to add to that?
• 1:35
  to that?
• 1:37
  Yeah, you know, we were looking at, there was an interview with Cher.
• 1:41
  one time.
• 1:42
  saw her on some news thing and they said we share afraid of anything or whatever and she said time because there's nothing you can do about that and we were really digging into
• 1:55
  this idea that no matter what you get in life, you have to give it away at some point because you're going to go away.
• 2:04
  away and the the frustration of that and
• 2:13
  we also wanted to celebrate life.
• 2:14
  It's show about celebrating your life before you go.
• 2:20
  But these guys have to right or wrong, otherwise they're going to go down to hell.
• 2:28
  So that's what's at stake for Frank and Dean and Sammy.
• 2:33
  they're gonna go down to hell and they're treated lawfully and they don't want to so they have to write this wrong on earth
• 2:41
  So they get to go down for one more time and they love being in this new young skin and this, these, you know, they feel vibrant and important again and how much they love that.
• 2:53
  And they don't want to go back.
• 2:55
  So that's what they have to deal with.
• 2:58
  It seems like there so many layers, not only do they have to write a song so they don't go to hell but they're dealing with their own legacy and I feel like that's something that...
• 3:06
  like a lot of layers that people can relate to.
• 3:08
  Yeah.
• 3:09
  So how familiar were the two of you with the Rat Pack before starting to work on this project?
• 3:13
  Pretty familiar.
• 3:16
  Big bands of Sammy Davis Jr., the greatest entertainer ever to live, and Frank Sinatra, of course, and Dean Martin.
• 3:28
  As kids, we grew up with them on TV and specials and all that stuff.
• 3:33
  Big bands.
• 3:35
  And also that they were so...
• 3:37
  What's great about the show and about them is that they're so specific.
• 3:43
  that it's not hard to find people who can imitate them because we all can imitate them.
• 3:54
  And in three notes or three words, you know it's Frank, Dean, or Sammy.
• 3:59
  You know someone's imitating them.
• 4:02
  So that was a lot of fun.
• 4:04
  to and these guys were so like I said so specific that no one was like
• 4:11
  And I think that's why we as the world were so attracted to them.
• 4:18
  No one sounded like them.
• 4:19
  No one moved like them.
• 4:21
  They were so individual.
• 4:23
  collectively, they would bounce off of each other so easily.
• 4:31
  you know, yeah, they had their banter and stuff that I'm sure they repeated from time to time.
• 4:35
  But every show they did was its own animal.
• 4:38
  So you never knew what was going to
• 4:40
  And so I think that kind of lends itself that you already know they're basically a little family in a way, a wacky little family.
• 4:50
  It really plays in terms of relationship on stage.
• 4:54
  It's kind of endearing and it raises the emotional stakes for the piece.
• 4:59
  So the songs that are sung throughout the show mean more and more and more.
• 5:02
  Yeah.
• 5:03
  And really are timeless.
• 5:06
  These are people that I know and people younger know.
• 5:12
  James, like you said, from the way that they sing and the way that they talk and who they were, people recognize these icons because they truly are icons.
• 5:19
  And so that is exciting to kind of see them in a different kind of situation.
• 5:23
  Yeah.
• 5:24
  So what is kind of your process of developing a show such as this one?
• 5:29
  James, I'm going to start with you.
• 5:30
  What's kind of the process of like from, how does it turn from a thought into a show?
• 5:35
  Wow, that's funny.
• 5:36
  Good question.
• 5:40
  You know, it's hard to remember exactly because ideas just start coming and then we just start building on it and building on it and what could be the conflict and you kind of
• 5:53
  just start there and it's almost like digging.
• 5:56
  And because really what you're doing is digging inside yourself when you're writing to go, what is the story I want to tell?
• 6:03
  What is that?
• 6:04
  that?
• 6:04
  that kernel.
• 6:06
  And we just started, we sat in Ray's backyard at his table and we just throw things back and forth.
• 6:16
  What if this happened?
• 6:16
  What if that happened?
• 6:18
  Ooh, that'd be cool.
• 6:19
  And we had certainly a lot of songs to pick from and we would go through and listen to the songs and sometimes the songs would inspire a scene or a moment or something we wanted to
• 6:33
  set up.
• 6:34
  up
• 6:35
  Do you agree with that rate?
• 6:36
  mean, do you remember anything more specific than that?
• 6:39
  that?
• 6:39
  Not really.
• 6:40
  mean, it was sort of also the canon of song that indicate like and how we would play with these songs, famous songs that people know and love.
• 6:50
  But they had a purpose, a new kind of purpose because of the context of the play.
• 6:55
  And I should mention it was it's also a big homage to It's a Wonderful Life, where
• 7:04
  In a way, the three of them are Clarence the angel.
• 7:08
  The three of them have to come down and fix this thing that's a problem on earth so they don't go to hell.
• 7:15
  So it's this wacky twist and really it's an homage to It's a Wonderful Life.
• 7:22
  And again, what Jim was suggesting is like at some point you got to let go of those things you thought were so important in order to live in peace.
• 7:34
  and with joy and with appreciation for everything you've got.
• 7:38
  I love that.
• 7:39
  mean, it's also cool that homage to A Wonderful Life because again, another classic story, something that people can easily recognize and to pay, you know, respect to that with this
• 7:51
  story with these again, with these iconic people that's there's so many layers to developing the story.
• 7:58
  And another movie that we based, that I kind of had fun with was, what is that movie where Steve Martin went in, all of me, right?
• 8:08
  Yeah, all of me.
• 8:10
  Where it's a, I don't know if people remember the movie very well, but Steve Martin and Lily Tomlin.
• 8:16
  Yeah, great.
• 8:17
  It's hilarious.
• 8:18
  Check it out, it's their whole movie where they switched bodies, is that it?
• 8:22
  Well, she entered his body.
• 8:26
  She died unexpectedly and ended up, you know, through, you know, movie magic in his body.
• 8:36
  So she was controlling him.
• 8:38
  It was hilarious.
• 8:39
  Brilliant concept.
• 8:40
  And I think it was Carl Reiner who directed it, wrote it and directed it, I think.
• 8:44
  Good old Carl Reiner from Dick Van Dyke days, right?
• 8:49
  Yeah.
• 8:50
  I was I definitely I got the when I was kind of researching this I kept going back to the movie heart and soul I don't know if either of you remember that Robert Downey jr.
• 8:57
  Was really young and he has the four people he has to kind of help on so they can cross over and I was just like it's one of my favorite movies of all time and it's one of those
• 9:05
  ones like nobody knows about but
• 9:08
  I'm gonna watch that.
• 9:09
  don't know it.
• 9:09
  Great movie.
• 9:11
  Absolutely great.
• 9:12
  Yeah, but it's a bit of a fantasy, it's filled with the joy of life, really, even though it's about this other thing.
• 9:22
  It's filled with the joy of the here and the now.
• 9:25
  And so do you, while they're on this journey with these characters, do they actually...
• 9:29
  enjoy the hero now?
• 9:31
  Like, not spoiling too much, obviously, but like there is a point where they get to kind of just do.
• 9:35
  do, they're having a blast.
• 9:37
  They're getting to sing again and do a show again, you know what I mean?
• 9:41
  So they're loving it.
• 9:43
  a kid how to do what they do, which is impossible, by the way, because they're so unique that he has to find his own, kid who they're trying to teach to be them really needs to
• 9:55
  find out who he is in this process, not who they are.
• 9:58
  So that's what they discover as well.
• 10:01
  So they're kind of
• 10:02
  shepherding this kid who wants to be like them and then they realize we're doing the wrong thing.
• 10:07
  We need to make him.
• 10:09
  So it's one of those two.
• 10:11
  So it kind of messes with the idea of identity, the theme of what is your identity and who are you.
• 10:16
  Yeah.
• 10:17
  right.
• 10:18
  And they are them.
• 10:20
  That's what made them stars is them figuring out.
• 10:23
  And they're all so different.
• 10:25
  You know, the three of them are so different.
• 10:27
  We also, by the way, have throw a little spice into it.
• 10:31
  There's the Angie Dickinson ripoff character who comes down from heaven to kind of control this chaos that they've created.
• 10:40
  So that is sort of a comedic and she does a number.
• 10:44
  It's an original number to help.
• 10:47
  move things along and solve the problems that they've created on Earth.
• 10:54
  Now
• 10:54
  also has to do with, just want to say, Brian, it also has to do with the power of, you know, obviously Frank Sinatra and all of them, they had a lot of power and a lot of
• 11:06
  gravitas and the power of our words, because Frank Sinatra said something in a nice way when he was alive, not realizing someone would take it seriously.
• 11:19
  But so it's taking responsibility.
• 11:23
  so the power of celebrity it was a double-edged sword what do you say when you're a celebrity say yeah you're great or or boy are you bad you know those
• 11:36
  Those words have a lot of power to them.
• 11:38
  And so that's something else that they have to confront, or Frank has to confront, is the power of his words and what he said, yeah, his actions, yeah, in our life.
• 11:51
  life.
• 11:52
  That's huge.
• 11:53
  A lot of people don't do that.
• 11:54
  What they do is very like...
• 11:57
  That's a hard journey.
• 11:58
  Again, as a psychologist, that's something I deal with on a daily basis.
• 12:01
  Oh, wow.
• 12:02
  the realities of what they said and they did, and we can't take some of those things back.
• 12:06
  I mean, you can't take any of it.
• 12:08
  Right, yeah.
• 12:08
  So when you're kind of developing this, I know like the Rat Pack is kind of, you know, these characters, like these four characters, these three characters.
• 12:17
  But was there anybody that you were like from that time period that like as you're developing, you're like trying to work in or that you're trying to like develop that,
• 12:27
  from, you know, from the vibes of like the Rat Pack.
• 12:31
  Was there anything that you kind of tried to incorporate into the story from that?
• 12:34
  that.
• 12:34
  I guess I would go back to the angel character that would be Angie Dickinson.
• 12:38
  That would be the one that would be the voice of logic, kind of, because they're all caught up in themselves so much that, and because the other ones, guess, that Peter
• 12:52
  Lawford and the other people were also so caught up in themselves.
• 12:57
  but, Angie was
• 13:02
  Angie Dickinson was the one most that we...
• 13:05
  we'll make her the most down to earth quote character from back there.
• 13:14
  Yeah, even though she's dead too.
• 13:16
  And she gets, and she is taken over, she takes over a woman's body down, you know, and so there's four of them that take over bodies.
• 13:28
  Ray, you know, how do you kind of get into the mindset of the characters as you're like trying to make them feel authentic on the page?
• 13:34
  Like, I'm sure it's probably listening a lot of music and watching a lot of videos, but like, how do you translate that?
• 13:41
  that?
• 13:58
  And it was probably the best place for us to look and see how much fun they were having on stage together, really is what it was about.
• 14:07
  And their bits and like they had their stock bits that they would do.
• 14:10
  And there was a hierarchy within those characters, like who treats who how, and I'm going to make fun of you this way for a while, and then you're going to come back and let me
• 14:19
  have it.
• 14:20
  It's that it's the fun of being like this little itty bitty family, I always think.
• 14:25
  And
• 14:27
  So I think that was the joy of putting it together is finding those relationships because as much as Jim says, yes, we can all, we all know who we can all do an impersonation of
• 14:37
  this or that.
• 14:38
  The reality is it is the behavior and what they want and how they get it that we really respond to.
• 14:47
  So if they tell us they're Sammy Davis Jr.
• 14:50
  and they do a few Sammy Davis isms and then they launch into their schtick.
• 14:56
  I think if they're playing the play together, we're going to buy it because we want to buy it.
• 15:01
  And it doesn't have to be an exact replication of who they were because they're taking over other people's bodies.
• 15:08
  When Lily Tomlin went into Steve Martin, it was Steve Martin doing her in a way.
• 15:17
  It didn't have to be spot on because it's a guy being and the girl is in his body.
• 15:22
  It's kind of that.
• 15:24
  That's the joy of piecing this together.
• 15:26
  In terms of writing these characters, you I think you put them in some wacky situations and it's gonna happen.
• 15:35
  know, Dean's gonna...
• 15:36
  of said it, Ray, when you said that they're a family and they all have wants.
• 15:43
  when you, so you almost can forget about, you don't forget the character, but you know what they say by what they want and what they're doing.
• 15:52
  And so the lines just come out.
• 15:54
  If the want is strong enough, you know what they want.
• 15:59
  And that is a universal want usually.
• 16:02
  I want.
• 16:02
  want something from you.
• 16:04
  I want you to tell me I'm great.
• 16:06
  I want you to I'm going to show you all how important I am or they're fighting over
• 16:13
  certain thing on the set.
• 16:16
  So I think the lines.
• 16:18
  kind of this one for all of them, particularly, you know, I mean, he practically sings it in one of the songs, I'm going to live forever.
• 16:26
  I want to live forever.
• 16:28
  Really?
• 16:29
  Dorian Grey's stuff, you know, but, you know, he has to come to terms with that.
• 16:34
  that.
• 16:35
  So what is kind of your journey together?
• 16:37
  Like you wrote this show together.
• 16:40
  What is it like working with each other on a project like this?
• 16:45
  Oh, it's very difficult.
• 16:47
  It's very difficult.
• 16:48
  It's really impossible.
• 16:49
  to say you two seem to dislike each other so much.
• 16:51
  Well, that's challenge.
• 16:54
  It's great because I think we have a rhythm to how we work together and have for years that we both have our strengths and I think we understand what those strengths are.
• 17:06
  in that respect, it starts making sense pretty quickly.
• 17:10
  Jim, I'm sure you have...
• 17:11
  Yeah.
• 17:12
  No, I think that's it.
• 17:14
  even if you argue about something, somehow when someone says something that feels like it's the best idea, you go, yeah, that's it.
• 17:25
  Now sometimes we don't.
• 17:28
  I'm a director as well and a choreographer over the years.
• 17:31
  So I come, I often come at things from that angle.
• 17:33
  Like is this playable?
• 17:36
  You know, physically, for example, and cause this is a physical show, they're singing and dancing and all that goodness.
• 17:41
  So sometimes I'll say, what if we do this?
• 17:45
  because I would need to be able to stage this and it needs to be active or there could be comedy here coming out of the physicality of it because these guys were physical.
• 17:53
  So sometimes I'll bring that to the table maybe and he may be coming at it from a different direction and when they yeah.
• 18:01
  Yeah.
• 18:02
  So we both can do it from that angle.
• 18:07
  what the person wants.
• 18:10
  But it's always been pretty easy for us when we write together.
• 18:16
  And I think the riffing of the dialogue, know, being able to sort of riff it in the process, I think is extremely valuable.
• 18:24
  And because we are both actors, that makes that easier.
• 18:32
  It's like doing an improv to write the scene.
• 18:35
  It's basically improving.
• 18:38
  as I say, kind of going back to what you said, James, like the listening to each other and then being being able to be like, that's the better idea.
• 18:46
  There really is a setting aside the ego like like everybody has an ego, you know, and setting aside that and really working together to be like, this is what serves the show
• 18:54
  the best or this is what works best.
• 18:56
  And it sounds like the two of you have been able to do that, which you don't always see a lot of people do.
• 19:00
  And that's what
• 19:01
  it does get hard because you think that you're right.
• 19:04
  And then, and we both do this.
• 19:07
  Like we both will say, no, it has to be green.
• 19:12
  No, it has to be blue.
• 19:14
  And then pretty soon the other one says, you know what?
• 19:16
  It has to be green.
• 19:17
  And you think like, well, that's what I've been saying, but we both do that, but you need to get there yourself.
• 19:23
  Like you have to go until you finally go, I see what you mean by green.
• 19:28
  Got it.
• 19:28
  You know?
• 19:29
  And sometimes it really is ultimately anyway about execution like both, you know, green and, you know, pick one in a way.
• 19:39
  Sometimes it's like, this is a good idea.
• 19:42
  That's a good idea.
• 19:43
  They're both good ideas, but pick one and run with it because at the end of the day, it's what you do with that idea.
• 19:49
  It's going to really matter.
• 19:50
  So the execution of it, the finessing of it, and then getting it onto the stage and making it work.
• 19:55
  That's really what matters.
• 19:56
  So if you've got a good story that
• 19:58
  go somewhere, chances are those things are going to find themselves in that process.
• 20:02
  Do you feel like with this show, or just like any show in general, but specifically with the Rat Pack Lounge, from your original concept, do you feel like it remained true to that
• 20:14
  original thought, or do feel like it's changed to be something different?
• 20:20
  I think it's the same and different.
• 20:25
  Sorry about that.
• 20:27
  What happened is we had too much, right?
• 20:29
  So when we first did it, the concept is great.
• 20:34
  The idea is great.
• 20:35
  All those things, the story that we're trying to tell is right, I think all of that.
• 20:40
  But we had so much, right?
• 20:43
  It was too much.
• 20:45
  so we bit by bit simplified it, made it tighter.
• 20:49
  and therefore better and funnier.
• 20:51
  I mean, what do think Jim?
• 20:53
  Yeah, no, think so too.
• 20:55
  We just had a lot of...
• 20:57
  And sometimes you don't know what needs to be cut until you see it front of an audience.
• 21:04
  You start to feel it in that, because it becomes such a living thing.
• 21:08
  And so we, after our first couple of productions, then we could really kind of, and then, yeah, to really get it down to, okay, here's,
• 21:22
  here's the meat, and here's, this is what keeps it alive and over the top.
• 21:29
  sort of.
• 21:30
  James, had mentioned that when you were starting to work on this, you were talking about stories and picking songs.
• 21:36
  Do you feel like there is a way that, did you feel like you knew what songs you wanted to have and then developed the story around there?
• 21:42
  Do you feel like you had the story and then tried to see if the songs fit into that?
• 21:46
  that.
• 21:47
  Boy, was kind of both, but more I think that they do a big concert at the end and that's when we, with that we start with
• 21:56
  I would say.
• 21:58
  But the plot part itself, coming up with the song, we would come up with probably the plot, and then find the song, or songs, like we might have three choices, and then say,
• 22:09
  okay, which one is gonna be the easiest to set up, and.
• 22:16
  they're going to sing this one yeah that's the best one so we really align the lines to drive to that song but I would say that
• 22:25
  the story that drove it first.
• 22:28
  And then we would find songs around that.
• 22:31
  that.
• 22:33
  What did you guys talk about?
• 22:34
  Yeah, exactly.
• 22:36
  100%.
• 22:37
  I mean, and sometimes we'd swap a song out because it wasn't working or whatever, but mostly it was like, this is the song we're going to make this, you know, get from this
• 22:48
  point in the story to that point in the story.
• 22:50
  That's our goal.
• 22:51
  This is all going to happen in that one song.
• 22:54
  And sometimes a lot happens.
• 22:56
  in one song.
• 22:58
  It's kind of like building a puzzle and some of the pieces are already there and the rest of it you have to, most of it you have to figure out but there's some pieces there.
• 23:07
  playing writing is.
• 23:08
  mean, writing the musical or anything.
• 23:11
  Writing is just a puzzle.
• 23:14
  And you're looking for the best pieces.
• 23:20
  in the process of writing it, you get a bunch of new ideas.
• 23:25
  Because it's like, if we do this, that really sets up this thing we didn't even think about.
• 23:29
  We could do this now.
• 23:31
  That's the joy of it.
• 23:33
  It's like,
• 23:33
  Where is this process gonna take?
• 23:36
  Could take you anywhere.
• 23:38
  Are there challenges to developing a show like this?
• 23:43
  You just talked about the joys of just wondering, is there anything that's difficult about putting these pieces together?
• 23:48
  One of the pieces was getting the rights to the song, like getting to the, that can always be a challenge.
• 23:57
  But finding theaters sometimes that will want to take a chance on a new show, that's a challenge, especially in sometimes in today's environment or with the theater world is
• 24:13
  changing after COVID quite a bit.
• 24:15
  So that can be a challenge.
• 24:19
  We had theaters that in this particular case, we had two theaters that wanted to do it.
• 24:25
  and develop it together.
• 24:27
  that was, we had a theater in Florida and we had the Denver Center where we developed it.
• 24:34
  And so that was really helpful.
• 24:36
  We knew we had two ways, two productions to help build the show.
• 24:43
  And then we were on our
• 24:45
  Yeah.
• 24:45
  Like how do you take both of those, like you guys are building the show, you're kind of playing with these two houses, because I'm sure like different audiences have different
• 24:55
  reactions.
• 24:56
  How do you decide like what pieces work and what don't as you're putting that together?
• 25:00
  They tell you the audience tells it.
• 25:04
  It's hard sometimes because you, if no one laughs at something one night you go, cut it, oh my God, that's embarrassing.
• 25:11
  And then the next night it gets a laugh and then you say, do it bigger, you know?
• 25:16
  then, so it's a balancing act.
• 25:18
  It can get tough.
• 25:21
  I'm like, yeah, some things are obvious or whatever, but, or sometimes you think this is the problem, but it's not actually that section is the problem.
• 25:32
  problem, it's that people had to wait too long for that section, so you have to cut the stuff that's before it.
• 25:38
  You know, we had that with another show that, that Meadowbrook did, um, a few years ago called The Bikinis.
• 25:45
  When we were developing that, there was one section that we were like, oh, this, uh, maybe isn't landing, like it should, and then, but it wasn't about trimming that section, it was
• 25:57
  about trimming the section before it.
• 25:59
  And I'm sure that even happened with this show too.
• 26:02
  with this show too.
• 26:06
  It's always what precedes it.
• 26:07
  It's always something before that usually that you've got to be looking at to fix.
• 26:15
  Either trimming it or rewriting it or something.
• 26:19
  Because something's, generally speaking.
• 26:21
  James, what themes from the Rat Pack Lounge speak the most to you?
• 26:25
  Ooh, good one.
• 26:27
  one.
• 26:28
  I think the idea of what do you leave behind in life and being your true self and living your true self and not trying to be like Sammy Davis Jr.
• 26:45
  or Dean Martin or Frank Sinatra.
• 26:49
  And that is how you fly.
• 26:52
  That is how you will become your own.
• 26:54
  own.
• 26:54
  not celebrity, but you know what I mean, your own hero.
• 26:59
  And the power of the word, of what people say to you.
• 27:05
  those are biggest, I think those are big themes for me, of how we treat each other and say what stuff we say to each other and how that sticks with us.
• 27:15
  As you know, if you say you're in that, know, someone can say something to you when you're a kid and you keep it for the rest of your life.
• 27:23
  life.
• 27:26
  Ray, how about for yourself?
• 27:27
  Yeah, I think...
• 27:29
  exactly what he said, I would agree with 100%.
• 27:32
  I don't think there's anything to add.
• 27:36
  I think it really is about taking advantage of every moment you have on the planet and being grateful for what you've got when you've got it and the authenticity and like Jim
• 27:55
  said, finding a way to be you and trusting
• 27:59
  that that's what matters and that allows you to be in the moment, not trying to be somebody else, you know, and live life to its fullest.
• 28:07
  Fantastic words from both of you.
• 28:08
  Thank you so much for being here.
• 28:10
  We are so excited to see the show.
• 28:13
  But thank you so much for your time.
• 28:14
  I appreciate it.
• 28:15
  Thank you.
• 28:16
  I'm so glad to do this and so nice to meet you, Brian.
• 28:19
  And hope the run is an amazing run up there in Michigan.
• 28:24
  Yeah.
• 28:25
  think it will be.
• 28:25
  So the Rat Pack Lounge runs at Meadowbrook Theatre from April 23rd through the May 18th, so get your tickets now and we will see you there.