Latest / The BSB Podcast / Exclusive Interview: RJ Miller-Zelinko and Emily Brown of Avon Players' 'The Prince of Egypt'

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Exclusive Interview: RJ Miller-Zelinko and Emily Brown of Avon Players' 'The Prince of Egypt' · The BSB Podcast

• 0:00
  It's great to have both of you on today and talk about the upcoming production of the Prince of Egypt, the musical at Avon Players.
• 0:05
  So thank you so much for being here.
• 0:07
  Thank you so much.
• 0:08
  R-RJ?
• 0:09
  RJ?
• 0:10
  You know, I was just going with it.
• 0:12
  was just internally agreeing with the room.
• 0:20
  I don't know if we can use any of that now because there were just so many long pauses.
• 0:24
  Honestly, it feels very authentic to me.
• 0:27
  I loved it personally.
• 0:28
  oh
• 0:30
  again, this is super exciting that we are getting to talk about the Prince of Egypt.
• 0:34
  Correct me if I'm wrong, but this is the first time this musical has been produced locally here in Michigan.
• 0:39
  If not in the state, then definitely in the area, definitely in like Southeast Michigan.
• 0:49
  How is it letting other people speak?
• 0:52
  No, you're the start now, babe, let's go!
• 0:56
  The thing is, this production now has me wired to speak slowly.
• 1:00
  And so I just keep taking my royal time speaking because that is my...
• 1:09
  I'm being authentic, bringing it into the interview because literally that is part of my role now, to take all the time in the world to say what I need to say.
• 1:23
  And we can appreciate that.
• 1:24
  So I'm sorry that we were calling you out like that.
• 1:27
  I think it looked like you were about to say something.
• 1:29
  So we were just like waiting for it.
• 1:30
  And then we're like, wait, there's no words are coming.
• 1:34
  so it just depends on how finicky we want to be because it is technically, it is the second production in Michigan.
• 1:41
  We got beat out by Traverse City who is currently and or did last week open this production.
• 1:51
  But yes, for the area, there are few and far between productions, period.
• 1:59
  um I think for some reason, Michigan's just like,
• 2:03
  one of the first on the bandwagon to get this show up and running.
• 2:07
  I think it makes it interesting that we are kind of leading this charge though, ah because this is a stage musical adaptation of the classic DreamWorks animated film, which there's
• 2:16
  many different layers to this story.
• 2:18
  But there might be some who are unfamiliar with it.
• 2:20
  And unfortunately, one of those people might be me, because I have not seen the DreamWorks film.
• 2:24
  I have not seen the Pro Shot as of yet.
• 2:26
  uh So Emily, what's the story of the Prince of Egypt?
• 2:30
  Let's just start there.
• 2:30
  Let's start very basic.
• 2:33
  I loved the movie growing up so much.
• 2:36
  So much that even when I worked at a Christian daycare at summer camp, like we would watch it.
• 2:41
  It was like curriculum in my mind.
• 2:43
  um It's just like, if you grew up in my generation in the church, like you've seen this movie.
• 2:51
  It's fantastic.
• 2:52
  And it follows Moses um when uh he was born as a baby into the river.
• 2:58
  And then we have a little time jump with him kind of uh growing up with his brother, Ramses, uh in the kingdom of Egypt.
• 3:09
  And then we have another time jump where uh he realizes where he's actually come from.
• 3:16
  And that's kind of like where our story begins, I would say.
• 3:20
  um And then it uh follows the Bible from there, at least in the major beats.
• 3:27
  where Moses leaves for the desert and God tells him to come back and set the Hebrew slaves free.
• 3:34
  And we go through that timeline and the plagues which scared every kid growing up.
• 3:42
  um And then to the parting of the Red Sea, is where our story kind of ends.
• 3:48
  So does really hit all the major beats of, like, what I assume is the Bible, because I haven't read that either, but like, ah all of the things like you've mentioned, like,
• 3:56
  there's the locust, there's the parting of the Red Sea, all of these big emotional beats of the story.
• 4:02
  But I noticed, RJ, you were kind of shaking your head, yes, you're like, yeah, growing up in the church, you knew the story, you knew this movie.
• 4:09
  Yeah, mean, distinctly remember, I think my family still owns the VHS for this.
• 4:13
  Um, and so yeah, still have that.
• 4:19
  And of course, yeah, religious upbringing.
• 4:21
  So it was very like, it was repetitive, of course, very familiar with the biblical sense of the story as well.
• 4:29
  Uh, and really the production does stay relatively true aside from, as Emily mentioned, lots of time jumping happening just because of course,
• 4:39
  How could you possibly, especially because biblical time is different than time we perceive now, um we're not even sure exactly what those time jumps might look like.
• 4:51
  um But yeah, relatively uh interesting to follow for someone who has had a Christian upbringing might be a tad confusing for someone who, like yourself, haven't read it,
• 5:08
  haven't seen it.
• 5:09
  have no idea what's going on.
• 5:11
  I have to say that going, like since you both auditioned for this, leading up to me eventually seeing this, RJ has been telling me, he's like, you watch the pro shot when you
• 5:20
  can, will make it easier when you go to see the show to like know what's going on.
• 5:26
  So it's been on my to-do list because it does, it is, I mean, this is like a heavy show.
• 5:33
  Like there's a lot going on in this show.
• 5:34
  There's a lot, you know, not just the story, but for what I understand too, with the set design and with.
• 5:41
  you know, the musicality of it.
• 5:42
  But before we get into the show itself, RJ what drew you to wanting to audition for this production?
• 5:50
  I know that you have done Avon's uh Sweeney Todd last year.
• 5:53
  Fantastic.
• 5:54
  I know you helped with the prop design of Young Frankenstein, which also starred our friend Emily here.
• 5:58
  uh But what drew you to be like, you know what, I want to be in the Prince of Egypt.
• 6:03
  Well, you can continuously blame, you know, Miss Emily over here.
• 6:08
  uh I was a little bit on the fence.
• 6:10
  I'll be real.
• 6:11
  I'll be very honest.
• 6:12
  Just because I know how much a commitment of a show is when you're doing a show, the massive time commitment, pretty much your life stops for everything but the show.
• 6:24
  So I was a little hesitant in that regard.
• 6:26
  It is also, as we just got done mentioning,
• 6:29
  a newer production, like not a lot of people have done it, which often means that you're kind of creating the standard for the production, which means more work.
• 6:37
  So um while this was very exciting and ultimately that's kind of also why I leaned into auditioning because when you look around the area, no other theater is doing this or it's
• 6:52
  not slated to be done again anytime soon.
• 6:55
  And so I didn't want to exactly
• 6:59
  maybe a little bit of FOMO.
• 7:00
  Like I didn't want to miss out on the opportunity to do this show and see what it felt like and see what it was to be a part of it.
• 7:09
  I mean, that is kind of cool.
• 7:10
  Like you're setting the standard.
• 7:11
  So of course you'd want to be a part of that.
• 7:13
  know, your name's kind of going down in local history, not to sound dramatic, but we are theater people here.
• 7:19
  ah But Emily, what drew you to this?
• 7:21
  Was it just that kind of that, that familial connection from your, like your childhood or was there something else that you're like, this is the reason I need to go and be a part
• 7:30
  of the Prince of Egypt?
• 7:31
  I I really think it is a beautiful story and that's hard to ignore.
• 7:38
  But I was also on the fence for a little bit.
• 7:41
  think doing two musicals back to back can be really exhausting.
• 7:46
  But once I kind of made the decision that I was going to audition because of that like kind of FOMO, I just couldn't help but drag RJ along.
• 7:55
  And it worked out for both of you.
• 7:57
  So speaking of this production then, Emily, who are you playing in the show?
• 8:02
  So I'm playing Yocheved, which is Moses' mother, who makes a couple appearances here and there.
• 8:08
  But I'm also getting to be an ensemble member, which is maybe what I'm even more excited about.
• 8:15
  Why is that?
• 8:16
  Like, why are you more excited about that?
• 8:18
  This show rides on the backs of the ensemble.
• 8:23
  It is such a hard, it's a labor of love truly, but because it's so abstract and kind of contemporary, there's really nary a scene where the ensemble is not doing something really
• 8:40
  cool.
• 8:40
  And I did not want to miss out on that.
• 8:42
  So it's actually something I confirmed with
• 8:45
  JD, our director beforehand.
• 8:46
  was like, all right, I'll audition for this part, but like, can I do the other cool stuff too?
• 8:52
  And as soon he said, yeah, I was like, all right, I'll write this down.
• 8:54
  m
• 8:56
  uh So you mentioned that you are playing Moses's mother.
• 8:59
  What is kind of her narrative arc?
• 9:00
  said she comes up a few times in the show.
• 9:03
  Yes, she's in uh the opening number actually carrying Moses and putting him into the river.
• 9:09
  um so this is kind of she's really her and the ensemble are setting the scene of how horrible things are for the Hebrews when the Pharaoh has uh decided to kill all of these
• 9:25
  oh babies because of a prophecy that he thinks that they might do a lot of things and minds and conspiracies.
• 9:33
  ah that come into play, uh but basically for no reason, because he's scared.
• 9:38
  uh So this fear is established pretty immediately, so much that a mother would give up her son ah for the chance that he might be able to live and do something great.
• 9:51
  Come to find out that little baby is this prophecy and he grows up to deliver them.
• 9:56
  uh After that first scene, she appears a couple of times as a ghost.
• 10:01
  to encourage Moses and kind of um come back as a memory a little bit to remind him what he's fighting for.
• 10:10
  What a heavy roll.
• 10:12
  Indeed.
• 10:13
  Full 180 from young Frankenstein.
• 10:16
  my gosh.
• 10:17
  I was gonna say, yeah, that one is so fun and carefree almost.
• 10:20
  And then this one is like, there's a lot riding on your shoulders.
• 10:24
  Yep, yep, time to focus up for sure.
• 10:27
  For you, how do you kind of modulate between like being an ensemble member and then going to have that role where you're having that heavy mindset?
• 10:35
  Like, how do you switch between the two so quickly?
• 10:38
  uh This is where I think the magic of theater and costumes come into play a lot.
• 10:44
  um I feel like that really helps frame your mindset.
• 10:48
  um And whenever I'm uh playing Yocheved, I'm really thinking about uh my mom, who I watched this movie with, and my family.
• 10:58
  And uh it's hard to not want to tear up while you're doing those parts.
• 11:05
  And if I'm doing that now, like out of costume, I can't imagine what Tech Week is going to look like.
• 11:09
  So wish me luck.
• 11:12
  Total mess.
• 11:16
  And so, RJ, who are you playing in the show?
• 11:18
  I haven't forgotten about you, I know.
• 11:19
  Emily and I were just having a great conversation there, but.
• 11:22
  Hey, right there with you.
• 11:23
  uh I play Hotep, which technically there is a role in the animated film, but there are uh two of them.
• 11:35
  uh High Priests, for the stage production, they just reduced it to a singular priest.
• 11:43
  So I am the High Priest.
• 11:45
  Ultimately, end game, I am the villain of the story.
• 11:49
  uh
• 11:50
  Shocker.
• 11:52
  I'm
• 11:52
  don't know what's going on, but yeah, I am the person that historically has guided the royal family, uh or at least the line of priests have guided the royal families over the
• 12:07
  centuries, uh making kind of those recommendations on what the dynasty looks like.
• 12:15
  uh So definitely on a power trip uh throughout the entire
• 12:21
  entire production.
• 12:22
  It's kind of like I like to think I'm royalty when I'm technically not, but I am amongst royalty all of
• 12:30
  That also, again, feels like a pretty heavy role.
• 12:32
  Again, you're not snapping birds' necks, hopefully, you know, but...
• 12:36
  uh But that's also, you know, playing the villain has to be difficult as well because you're the whole reason that all the drama's happening.
• 12:47
  Yeah, it's...
• 12:49
  it is a very interesting, you know, much like any acting role, the on-off of, like, being offstage a moment before you just kind of have to go into this very serious, very deep,
• 13:05
  very dark uh space.
• 13:08
  uh It's interesting.
• 13:12
  It's...
• 13:12
  I haven't played Evil roles very much.
• 13:15
  except for lately, apparently.
• 13:17
  And so this one actually, yeah, this one feels substantially heavier than my last one.
• 13:26
  uh Because while I'm not breaking birds necks, uh I am yelling at people to be killed and encouraging mass murder.
• 13:37
  So it is it is definitely and there are a few points uh that I'm just like,
• 13:45
  I'm gonna make all of your lives literally a living hell if I can.
• 13:50
  That sounds about right for this kind of role, I mean, we love a man who knows what he wants, and if he just wants, you know, to rule over with an iron fist, like, we can't
• 14:00
  fault him for that.
• 14:01
  um What's your process for developing your character?
• 14:07
  it's been hard.
• 14:08
  I'll be honest.
• 14:09
  Uh, again, because I haven't played evil a ton and this just like requires way more outward evil, like truly embodying villainous tendencies.
• 14:23
  Um, and so whether that's through like voice, vocal maneuvering, through song or just
• 14:33
  I've realized a lot of eye contact, a lot of facial expression, because my posture throughout the show is relatively the same because I am a priest, so I'm always kind of
• 14:44
  prim and proper.
• 14:45
  But to just get into that head space, you do have to think about, I mean, once again, I grew up Christian, I'm familiar with what these prophecies were, and just the weight of,
• 14:55
  again, mass murder.
• 14:56
  I'm thinking about, we just got done killing generations of babies.
• 15:02
  then more children are killed.
• 15:04
  And now I'm encouraging that we kill just an entire nation of people that were already driving into the ground.
• 15:14
  um but I guess thinking about it from a historical perspective and the fact that this was a lived experience um is kind of how I get my brain in that space.
• 15:27
  mean, that's a beautiful answer.
• 15:28
  mean, to think of it from a historical standpoint of just, I mean, this is a concept that is repeated throughout time, you know?
• 15:37
  Like people on power trips come up, they rule, they kill lots of people.
• 15:43
  uh
• 15:44
  What a timely show in the matter of, you know, also what we're living in today.
• 15:47
  All right.
• 15:48
  So let's talk about the set design.
• 15:49
  As I hear the show does something interesting with how it tells the story visually.
• 15:52
  And as an ensemble member, Emily, I'm sure you're kind of very familiar with how this is because I hear that the ensemble is really the one handling it.
• 16:00
  So can you kind of tell us what's going on?
• 16:02
  Yeah, it's been really uh interesting to figure out um how we can take something like universal, like these blocks that we're using and form them into different things, form
• 16:12
  them into a throne and a castle and a barge and kind of hopefully use the audience's imagination a little bit.
• 16:21
  uh So that's been really uh very interesting and really stretching our...
• 16:30
  abilities to stay in character even during scene changes, and my acting abilities to pretend like a Styrofoam block is very heavy.
• 16:39
  So in a way is the the ensemble are are they the set?
• 16:43
  Yeah, yeah, in a lot of ways.
• 16:45
  um There are some times where we are just uh moving the blocks and the blocks are acting as the set, but there's one particular, well, I guess a couple of scenes where we're
• 16:58
  acting as Moses and Ramsey's secret room in their castle.
• 17:03
  we are, uh a lot of ensemble members are standing on blocks and also holding them up.
• 17:08
  And then some of us are standing in between to look like columns.
• 17:11
  um
• 17:13
  And that's been, yeah, it's brutal for the people having to hold those up for the entire scene.
• 17:21
  But luckily I'm just one of the people that gets to stand there.
• 17:24
  You were like, I got that one off.
• 17:27
  uh What is that like visually then for you RJ, who maybe isn't a part of the ensemble moving these blocks?
• 17:34
  Yeah, I'm so happy that I lucked out.
• 17:41
  No, it looks great.
• 17:43
  um I think it is as Emily mentioned earlier, it is very contemporary.
• 17:50
  And so it will require audiences to truly use their imagination.
• 17:56
  um And I think that will
• 18:01
  That's why I've, you know, for the people who mentioned they've never even seen the movie or not familiar with the story at all.
• 18:08
  That's why I've kind of pushed or encouraged them to do some type of recon because otherwise you probably will just kind of be like, what are those?
• 18:20
  You know, like, there are people.
• 18:25
  Yeah.
• 18:25
  Like, so it is,
• 18:27
  almost like interpretive dance.
• 18:30
  Very, very interpretive, but very...
• 18:38
  Equally visually stunning though, because you don't see that.
• 18:41
  I mean, you typically are used to seeing set pieces that are moving, right?
• 18:46
  Like full set pieces.
• 18:48
  You're used to seeing drop downs.
• 18:49
  You're used to seeing flats come on and off.
• 18:52
  Whereas this is primarily people built.
• 18:57
  It's people-centric.
• 18:59
  But I think that lends itself to also allow you to see...
• 19:05
  It is more a challenge for the ensemble because they do have to be in character as that thing, right?
• 19:11
  Like, if I can see your face, I'm paying attention, right?
• 19:17
  So if you're a wall or if there's something dramatic happening in that scene, you kind of have to mimic whatever that will be.
• 19:25
  but not take away or add too much to from the scene that's actually occurring.
• 19:30
  So it is quite a unique challenge, but I think our cast does a really good job at maneuvering all of those pieces.
• 19:40
  I think that, granted, not an actor, never have, that never will be, but I think what's interesting about it is that when you compare some of the other shows that I've seen at
• 19:47
  Avon Players, I'm specifically thinking of Young Frankenstein.
• 19:51
  You had a very detailed digital screen.
• 19:53
  You had these big set pieces that roll in and out that make you more readily dive into those scenes and feel like you're a part of it.
• 20:01
  that feels like that's more immersive.
• 20:04
  And this probably does challenge you in your ability to be the actor in the scene.
• 20:10
  Mm-hmm.
• 20:11
  Yeah, yeah, it's definitely um some theater of the mind going on for sure.
• 20:16
  um Where, you know, in one scene this block is something and then the scene changes but the block doesn't move but you got to pretend it's something else now.
• 20:24
  Sure.
• 20:24
  uh So this show, very heavy, seems like there's a lot of themes, but which theme do you feel like resonates the most with you, RJ?
• 20:33
  I mean, there are so many.
• 20:34
  uh I would say the underlying theme of hope.
• 20:42
  um Basically, I mean, the beginning of the show kind of being that foreshadowing ah and Emily's character literally kind of being like the beacon of hope from the beginning and
• 20:56
  then woven throughout.
• 20:58
  As we see, she's not the only ghost or spirit that
• 21:03
  happens.
• 21:04
  And I think the purpose of those reoccurring or coming through from start to finish is, um you know, as the song says, as probably the song that everyone will know, even if they
• 21:17
  don't know the show, um when you believe, dot, dot, dot, there is hope, there is whatever that theme is, I think that plays a big part in it.
• 21:32
  to say when you said when you believe my mind went to Book of Mormon so I don't know if I know the song you're talking about.
• 21:41
  Emily how about for you which theme from the Prince of Egypt resonates the most with you?
• 21:45
  I think my theme is a little biased and maybe a little more on the nose, but uh family for me, for sure.
• 21:51
  um Playing the mother in this family who kind of gets to watch over things as it happens is um very nice, warms my heart.
• 22:03
  And also growing up with this movie and watching it with my family has been amazing.
• 22:09
  And when you grow up a theater kid, you find every movie musical that can.
• 22:13
  um But I'm also thinking of the part of my family that is Jewish where I grew up celebrating Passover and Hanukkah and these things.
• 22:21
  um there's a line when that I'm very honored to sing after Moses is parting the Red Sea that they'll remember this, you know, in history for all the days to come and they'll
• 22:36
  celebrate it.
• 22:37
  And I really have to think about it too much right now.
• 22:41
  um
• 22:42
  And I think about my family sitting around the table because we really did celebrate that and it's made it this far.
• 22:49
  And so I'm really lucky that I get to be a part of all of those moments and they get to be woven into my life as well.
• 22:58
  What a beautiful answer.
• 22:59
  You said it was little on the nose, but that's important because family and the connectiveness, theater family, found family, the family that we have, it's so important
• 23:08
  now and forever.
• 23:09
  ah speaking, know, before I let you guys go, we do have to talk about the music, because this is a show that features music from Steven Schwartz, who people know from Wicked.
• 23:20
  Wicked's really having a moment right now.
• 23:22
  uh RJ.
• 23:26
  How would you describe the music of the Prince of Egypt?
• 23:28
  You mentioned the show is kind of contemporary.
• 23:29
  Do you feel like the music also falls in line with that?
• 23:31
  Hmm, I mean, I think it is stereotypical musical theater.
• 23:37
  Like, I think it is exactly what you expect it to be, especially when you think of Wicked.
• 23:42
  You have a handful of power ballads.
• 23:45
  You have a handful of more, you know, solemn,
• 23:50
  scenes and as Emily mentioned, like the heart and the family.
• 23:54
  um And there will for sure, there are definitely multiple moments in this show musically where there will be tears streaming for sure.
• 24:07
  uh But also there are some pretty like kind of violent uh
• 24:19
  moments as well.
• 24:21
  So it does very well story wise.
• 24:25
  I think the music blends with the story uh and people are really going to enjoy truly this.
• 24:32
  It is a journey.
• 24:33
  is a legitimately a journey that you know you're kind of taken over time and I think the story and the music match each other uh to a degree that some people may have not uh
• 24:47
  experienced yet musically.
• 24:48
  Emily, how do you feel like this music enhances the story of the Prince of Egypt?
• 24:53
  I really think that um I know that Hans Zimmer did the music and the big themes for the movie.
• 24:59
  um And it really starts as like this epic like spectacle.
• 25:05
  And we were talking at rehearsal that they really make you like wait to have these intimate moments with these characters that you've come to know um until Act Two.
• 25:14
  And so I feel like we start with this like this firework show.
• 25:17
  um But then we end with our heartstrings absolutely not even tugged on but
• 25:23
  Yanked.
• 25:24
  Do you have a favorite number to perform or to hear?
• 25:27
  is there a number from the show that you love?
• 25:28
  That is so hard.
• 25:30
  my gosh.
• 25:32
  The ones from the movie are the ones that have always been close to me.
• 25:41
  I think kicking off with Deliver Us is just a really great way to throw the audience into the story and get them invested right away.
• 25:53
  um But it does have...
• 25:56
  plot within it too and you're following and meeting all of these characters.
• 26:00
  um So I think that might have to be my number one, but it's a close call.
• 26:07
  RJ how about for you?
• 26:08
  What's what's your favorite number?
• 26:10
  Oh, there's so many reasons for specific songs to be favorites.
• 26:16
  Um, but what I consider kind of the two title pieces to match kind of what Emily said, deliver us.
• 26:26
  And, um, as previously mentioned, when you believe they're just powerhouse numbers, they've got the entire ensemble and cast involved.
• 26:33
  Um, they are.
• 26:36
  relaying the story, much of the story, you know, literally act one kind of versus act two.
• 26:42
  um And of course, like it's full circle moment because we're literally beginning and finishing with these numbers.
• 26:50
  uh Which of course, like when you believe that in the in the back of my mind, I'm still hearing like the pop Whitney Houston and uh version.
• 27:03
  Yeah.
• 27:04
  Oh,
• 27:05
  It's fine.
• 27:06
  Maybe we'll our, you know, cast bows will be to that version.
• 27:11
  We'll see what we can get the orchestra on board for that.
• 27:15
  was gonna say, if you guys can pull it off, kinda like what Hercules is doing, what the star is born on uh London stages right now, I think it would be a hit.
• 27:21
  I think everybody would give us a gospel version of the song, hit it, you know?
• 27:26
  uh Final question for both of you.
• 27:30
  uh What are you hoping audiences take away from this production of the Prince of Egypt at Avon Players?
• 27:35
  boy, I can start.
• 27:36
  ah
• 27:38
  I know I didn't throw it to anyone there and I like I should've.
• 27:40
  We're all just staring at each other like who's next, what's next, where are going?
• 27:45
  I hope that they take away kind of that familial bond, that closeness, even if it's not like with blood family.
• 27:57
  I think there is a message of just what is family?
• 28:05
  Because it kind of, the story talks about being ultimately raised in a family that you're not in bloodline with.
• 28:13
  and then later on meeting that bloodline, but still having these bonds between all of those people, even across nationalities, across race, across religion, across.
• 28:24
  So especially in today's world where there are so many lines that are being drawn and so much separation is happening, I hope that this kind of makes people at least think about
• 28:36
  those divides and maybe how we can bridge those gaps.
• 28:40
  How about for you?
• 28:41
  Yeah, I really hope that people uh can take away some parallels for our real world today and they can really listen to a story that's been
• 28:54
  told a lot, it may be a new way.
• 28:57
  And I think that's an upcoming theme um in Avon Season, actually.
• 29:03
  We're doing Diary of Anne Frank next that I'm on the production team for.
• 29:07
  And we're having really similar conversations of uplifting these stories in a new way.
• 29:13
  um And something that definitely people in Southeast Michigan have not seen before.
• 29:18
  I mean, what a time to have those stories, you Thank you so much, RJ and Emily, for your time.
• 29:24
  We greatly appreciate it, and we are so looking forward to seeing the Prince of Egypt when it arrives.
• 29:28
  So thank you for speaking with us.
• 29:34
  The Prince of Egypt musical runs September 12th through the 27th, so get your tickets now, and we'll see you at the show.