October 2, 2025 • 50 mins
It's Tracy Turnblad herself! The OG from the Tony Award-winning Broadway Musical!
Strap in and get ready for a fun ride with Marissa Jaret Winokur! The Tony Award winner shares her journey to becoming Tracy Turnblad on Broadway, and her stories have Jenna and Kevin laughing the whole time! From heading to L.A. for the very first time thanks to Lucy Lawless, booking a small role in a huge Oscar-winning movie, showing up to Hollywood parties uninvited, to getting seen by the right people that led to 'Hairspray!' Plus, how she's responsible for Matthew Morrison playing Link on Broadway, the moment she knew the stage musical was going to be a massive hit to now directing 'Tracy Turnblad' in a California Production of 'Hairspray!'
Tickets to Marissa’s production of ‘Hairspray’ at the Scherr Forum Theatre at the Bank of America Performing Arts Center are on sale now at 5startheatricals.com.
For fun, exclusive content, and behind-the-scenes clips, follow us on Instagram @andthatswhatyoureallymissedpod & TikTok @thatswhatyoureallymissed!
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
And that's what you really missed with Jenna.
Speaker 2 (00:04):
And Kevin an iHeartRadio.
Speaker 1 (00:06):
Podcast Welcome to you, and that's what you really miss podcasts.
Oh my gosh, you have the original, original, original original
Tracy Turnbot here.
Speaker 2 (00:18):
When we emailed her, she emailed our producer and was like,
you know I'm not in the film, right, Like.
Speaker 1 (00:25):
Yes, they know that I'm not in the film.
Speaker 2 (00:27):
Yes, we want to talk to you, O g Tracy.
Speaker 1 (00:30):
We know.
Speaker 2 (00:33):
Because that's what we're doing. We can talk to whoever
we want and we're going full out on hairspray here.
Speaker 3 (00:39):
Hello.
Speaker 1 (00:40):
Yes, it's just a good conversation. She's amazing. The journey
is crazy. She's now directing a production as well. You
have to go see it if you're in the LA
area and enjoy.
Speaker 3 (00:54):
Hi guys, Hi, how are you?
Speaker 2 (00:57):
You were so excited to talk to you because one
just massive fans of you in general, Yeah, thank you,
and massive fans of all forms of hairspray.
Speaker 4 (01:08):
I mean there's so many now, it's like literally I
always say, it's like the gift that keeps on giving.
Speaker 3 (01:14):
Man, it like never happen.
Speaker 5 (01:15):
That's what we say about Glee, so right, like it
like never it's like it just never stops. Oh no,
like just when you think you can't do anything more,
you're like, oh, now there's a reunion special or like right,
or like no, I totally feel that where like somebody
wins a Tony and then they're.
Speaker 3 (01:35):
Like everybody in Glee has wanted copy.
Speaker 4 (01:39):
Right, Like every like no matter what, it's like when one,
when one succeeds, all succeeds.
Speaker 2 (01:45):
Right exactly. It's like when you're part of something, like
it's the biggest well, like Matty came into like Matt
and Jane came into it having done bigger things, Like
for all of us, it was like the biggest thing
we had done.
Speaker 4 (01:56):
No, Lee was the I mean sure Matt had done
big things, but nothing was bigger than Glee.
Speaker 1 (02:03):
Yeah, I mean Maybee but no.
Speaker 4 (02:06):
But really no, like think about it, like, yes, she
done big things, but like it's like, yeah, that's like
from my generation. It's like that's nine two and oh
there was nothing going to be bigger than that for
Tory Spelling and like that that was always going to
be you know, like for me, hairs There'll be nothing
bigger than hairspray for me, no matter what I do
like it will never be you know for me Marissa,
(02:29):
and you know what I mean, I don't know.
Speaker 1 (02:30):
Well, speaking of yes, we have to go back to
the beginning.
Speaker 2 (02:35):
Let's go take us back.
Speaker 1 (02:36):
You're still in it now, but yeah.
Speaker 4 (02:38):
We're going to get it's always right, It's always life.
Speaker 3 (02:45):
No.
Speaker 4 (02:45):
I literally like mark date like I can mark times
and dates and like what what I was doing with
hairspray at that time?
Speaker 3 (02:52):
Like it's so crazy.
Speaker 1 (02:54):
So I mean dig us back to earlier like cre Hairspray?
When you got your audition, did you go to an
open call? Did you get like an agent's call? Like
what was what was that?
Speaker 6 (03:07):
No?
Speaker 4 (03:07):
I was like the crazy person who literally I was
I did Greece on Broadway for four years. I was
in Greece on Broadway for four Like I would like
the person who was like I was like nineteen me
and Sutton Foster.
Speaker 3 (03:19):
And we're like we're not relieving, like we.
Speaker 4 (03:20):
Were the understudies and then we moved and then like
and then like we like could you imagine? Like and
I know I always like make this joke, but it's
like if you have Marissa Winoca and Sutton Foster as
your understudies, You're like those is like not like that's
an insane understudies situation, right, Like that show is insane,
like not that, Like both of us were waiting to
push people down the stairs, but we also were like
(03:41):
waited to push people down.
Speaker 3 (03:42):
The stairs, you know what I mean.
Speaker 4 (03:43):
I mean, I'm not gonna speak for Ston. She's probably
a much better person than I am. But I was
like waiting for the girl to just take a day
off so like I could go on, you know, yes,
Like I was like, when I go on, they're gonna
know that I'm the best jam ever, Like who cares
about jan So But then I moved into the role
and I stayed in that show for four years, like
(04:03):
I was never going to wow. And then and Lucy Lawless,
who Zena was like in Greece with us, and she.
Speaker 3 (04:12):
Was getting married.
Speaker 4 (04:13):
So when she got married in California, I was like,
I'd never been to the West Coast, so I was like,
cause I'm just you know, New Yorker born and raised
like never really like my parents, like we would travel
to like Amsterdam amper holiday, but we would never like
go any place sunny, like they were like it was
always educational grown up now, I'm like that's so much cooler.
But as a kid, you're like, I just want to
(04:33):
go to like Bahama.
Speaker 3 (04:38):
Never went to Disney World, never Disneyland.
Speaker 4 (04:40):
Like my parents only like we would like get a cheap,
you know, cheap ticket to wherever in Europe and I'd
be like, oh, another museum. Lucy got married in California
in March of ninety eight and I literally went out
for her wedding and was like, oh my gosh, like
(05:00):
I didn't even understand TV or film, like I had
no like I just wanted to do Broadway. And I
lied to my agent, my like Broadway agent, and was like,
maybe I'm want to do TV and film just because
I was like in California for three weeks on board
and I like booked stuff like what like immediately booked.
Speaker 3 (05:17):
I think it was like, you.
Speaker 4 (05:19):
Know, well, also there was like when when I tell you,
like when you go back to ninety eight, there was
not a chubby character, like there was like five of us,
Like there was none like now it's like the Internet,
Like now it's like every single person can work any
shape in any size, which is so much better. But
it was not better for me at that time. At
that time, it was better that nobody else could work
(05:40):
but me and I like, I think my first movie.
Speaker 3 (05:44):
Was Teaching Missus Tingle.
Speaker 4 (05:46):
And because I got like a crazy one line in
the movie, I had to be in like Helen Nearn's
like class like for like three weeks, and honestly, you guys,
I was like this is I remember calling my mom
and just because I'd never seen craft service before and
I was like, I was like, this is a bar
mitzvah every day, Like there's so much food. I'm like,
(06:07):
I'm never leaving Los Angeles. I was like I couldn't believe,
but not because like I'm Broadway. You know, it's like
on Broadway you get like on Sunday, somebody brings bagels,
but like one Sunday it's your turn. You know, nothing's free.
And I lived in and in the LA I mean
in New York. I lived in a three bedroom with
four people. I was starring on Broadway, and then I
(06:28):
moved to LA and I was like in my own
apartment for like for free and bar mitzvah every day
of food and I would like take the like tray
of food and then I'd be like, oh, I'm just
taking this for later for dinner to take home. Yes,
I've never seen anything like at Covid ruined that bar
mitzvah just let me tell you. But yeah, But so
I started working in TV and Philmon was like, I'm
(06:50):
never going back. I made my brother shit me by
my New York apartment. I know this is going to
get to Harrispy.
Speaker 3 (06:55):
Sorry, I'm not.
Speaker 2 (06:57):
This is what you're here for. This is great.
Speaker 1 (07:00):
We're recounting.
Speaker 2 (07:01):
I like to know the long story.
Speaker 3 (07:04):
Yeah, I like bic worts are so long. I'm sorry.
So I literally did so.
Speaker 4 (07:10):
Then I bought American Beauty and I was an American
Beauty for like I had literally like two days of
work on American Beauty.
Speaker 3 (07:15):
But like my dad but like but like my line.
Speaker 4 (07:20):
Was like and then that was in the Oscars like
that clip, like I was the Oscar clip and like
my face was like on the I still have it,
like on the cover of Variety and I'd done one
line and I was like, well, I meant to be
a star, Like I was so oblip, Like I was
just like showing up. Like my friends at that time
were like They're like, there's a Vanity Fair party and
(07:41):
I'm like, well, I'm in the movie, and I would
just show up. I was so young, and I would
just show up at the parties, like dressed totally to
the nines with like ros I always wore like roses
in my hair for American Beauty and like people still.
Speaker 3 (07:52):
Talk about it.
Speaker 4 (07:52):
They're like, there's this one guy, Chip who like would
be like the guy who would like let people in
or out at like because he worked for DreamWorks at
the time, and he would just like laugh. Because I
was so young and naive that I just thought, like
I have a line in the movie. I should be
at the parties and they'd like let me in everywhere,
you know, like like and then they started just inviting
me because they didn't know, like they didn't know what
(08:12):
to do with me, because I would just show like
now if I'm even if I'm in a TV show, now,
I'd like barely go to the wrap party because I'm like, oh,
I was just thinking, oh my god, it was just
referring guest star, like nobody even knows I'm made it, like,
but like twenty two, I was like I'm the star.
Speaker 6 (08:26):
You know.
Speaker 3 (08:28):
It was so crazy, So you know.
Speaker 4 (08:30):
I was in American Beauty and Robbie Marshall, who was
directing Hairspray at the time, was friends with Dan Jinks,
who was like my main producer on American Beauty, and
he was like and he was. They were just at
dinner or talking and they were like, I about about
doing Hairspray the musical, and Robbie Marshall was like, but
we're never going to find that girl, you know, and
Dan James, who was my main producer, was like, there
(08:53):
was this girl who we just shot America like because
we had it hadn't come out yet, but just ind
in American Beauty, and like I'm telling you, like I
remember her talking about being on Broadway, so I think
she must be able to sing like she's literally Tracy Turnblatt.
And so then I remember the phone rang and it
said dream Works.
Speaker 3 (09:10):
And this is how crazy I am, you guys.
Speaker 4 (09:13):
It's the caller Idea said DreamWorks, and I literally was like,
oh my god, they're writing an entire movie for that girl,
Like I in my mind and I remember it happening
like like it was young.
Speaker 3 (09:25):
I remember that more.
Speaker 4 (09:26):
Than my son's birth, Like that's how much I remember,
Like seeing DreamWorks come up on my collar idea and
I'm like, oh my god, the mister Smiley's Girls is
getting an entire movie.
Speaker 3 (09:35):
Like that's how how crazy?
Speaker 4 (09:37):
I was, right, So I literally picked up and I'm
like h hmm, like all excited, like they're going to
offer me like my own movie, like you know, Al's
Ball is going to write me this feature about working
at mister Smiley's you know counter And they.
Speaker 1 (09:50):
Were like, honestly good, yeah, yeah, I.
Speaker 3 (09:54):
Mean I would watch that movie. I think I think
we should I think that girl still works there. We
should write it right now, let's do.
Speaker 4 (10:02):
And they basically he was like, I want I want
to introduce you to Robbie Marshall. I want you to an
audition for this. And I was like, oh, a musical,
Like I was so bummed.
Speaker 3 (10:12):
Yea, I know.
Speaker 2 (10:13):
I was like I'm doing.
Speaker 3 (10:15):
I was like Broadway.
Speaker 4 (10:19):
And then so then I went over to Mark Shaman
and Scott Woman's house. They had a place in Laurel
Canyon up the hill. I was the first person to
even meet on the musical like this is ninety nine,
nineteen ninety nine, and I walked up the stairs and
I was like, I didn't do my you know, we didn't.
I didn't listen. I'm old, so like there was no
(10:40):
research to be done. I don't really have internet. I
wasn't like now, we're like we have an audition now,
and you're like every research, You're like, I know everybody
in the room. I know every I was like who
are they? And I'm like walking in the house and
there's like all the movie posters that Mark had scored,
and then there was like south Park big, you know, big,
bigger and uncut, and I.
Speaker 3 (10:57):
Was like, you guys did steut. I was like, you
did south Park?
Speaker 4 (11:00):
And I was like freaking out about the south Park
the musical movie, you know. And then I sang for
them and they were like, listen, we want you to
come do the reading, but you're probably not going to
do the role because we're gonna do we don't have
time to do more auditions. We're going to do more
auditions as we get and they did. I mean they
did auditions for the two years that I did the
readings for Hairspray. They were doing auditions like there would
(11:21):
literally be like auditions in the like other studio wall.
Speaker 3 (11:24):
We're working down on.
Speaker 4 (11:26):
It literally and they would be like like literally, I
remember walking out once and they're like, are you Tracy
Turnblack come to.
Speaker 7 (11:31):
The audition, and I'm like, guys, here they didn't know
that they had someone who was an understudy that had
been waiting in the wings and knew how to make
sure no one took their job.
Speaker 4 (11:43):
I made I knew well, I didn't let my understudy
go on for a really long time.
Speaker 3 (11:49):
And then when they did the.
Speaker 4 (11:50):
Show after I did it for a year in LA
or New York, and then they brought it to LA
in like two thousand and four, I was like, I'm
not letting anybody in Los Angeles know that anyone else
can play this role, because like now, like I was
in it, I was like, oh, there's like forty girls
that can play this role today. You know, like once
you're in it, you like know you're like, oh, I
see Carly Gibson illis at all, Like I knows all
(12:11):
these girls. I'm like yeah, And I was like I'm
going to do the La Pantagious run just so that
like to keep it for like one more year, making
sure that nobody knew anyone else to be Tracy, like
like that poor girl who was on tour.
Speaker 3 (12:23):
It was.
Speaker 4 (12:23):
And by the way, it was the LUs at all
who was clearly is like like, first of all, like
I'm the most talented girl in the world. But I
was like, she will not play Tracy, like like I'm.
Speaker 3 (12:35):
Such a psycho.
Speaker 6 (12:36):
Yeah, what was the readings process?
Speaker 2 (12:47):
Like, like how many readings did it go through? Because
when we talked about the musical in the movie, we
were saying, like what a tight and like perfect structure
the show is it is, and so like what was
that ironing process during the Yeah, the readings, well, yeah
we did.
Speaker 4 (13:05):
We did like four proper readings. We never did like
a dance workshop. We never did like we like did.
The first one was only like act one and it
was like upstairs and Laura Bell always talks about how
like you could smell the like fish and like food
brewing on it was like an old building where like
you can smell the restaurant coming through.
Speaker 3 (13:26):
She had a much better description.
Speaker 4 (13:28):
I can't, like I can't exactly remember exactly her words
because she's so much better with words than I am.
Speaker 3 (13:33):
But detail words I can.
Speaker 4 (13:36):
I can.
Speaker 3 (13:36):
I can out.
Speaker 4 (13:37):
Talk obviously anyone, but Laura can give you like details
of smells. But we did that first one and it
was only act one.
Speaker 1 (13:45):
Wow.
Speaker 3 (13:47):
And then we went back and did and it was
always it was always.
Speaker 4 (13:50):
Me and Harvey and Dick, La Tessa and Laura Bell.
Laura Bell missed one of the readings, but it was
because she like was worth you know, on a soap
oper or something, but was back. But like after the
third reading, that's when uh, Robbie Marshall left to go
do Chicago, that flop of a movie he like went
(14:12):
off to do Chicago. And so that's when Jerry and
Jack came in. And when Jerry Mitchell and Jack O'Brien
came in, we were all like, we're all gonna lose
our jobs because everybody knows like directors like to bring
in their like like like to have their own cast,
Like they don't want to just take someone else's cast.
Speaker 3 (14:27):
That's not their like way, you know. So the end
they so the fourth reading was.
Speaker 4 (14:33):
Under like the guise of like everybody knew, like we're
never going like this is to like get the money
from the producers, but like none of us were going
to make it. And thankfully, thank god, like they didn't
have like the egos that a lot of directors and
choreographers have like thank god they knew they saw the
magic in the room of like Harvey and me and Dick.
And then that was the time that uh Cory Reynolds,
(14:55):
who was our seaweed, it was his first time doing
like he had just moved from under like you know,
ensemble boy to that role because they didn't like somebody
felt like the guy fell out or something.
Speaker 3 (15:06):
And then he stayed, Laura stayed.
Speaker 4 (15:09):
Harry Butler, that's when Carry Butler came in and like
we never had a care like they were at one
point talking they were like do we even need Penny
because like they couldn't find a girl to play Penny,
Like it was such a crazy like people.
Speaker 3 (15:21):
Just kept not it just kept not working.
Speaker 4 (15:23):
Yeah, and then Carrie, of course Harry Butler is like,
so such a dream, such a dream and totally and
so then she stayed, and then a lot of the
ensemble people came in and stayed.
Speaker 3 (15:33):
So that was that was like the best.
Speaker 4 (15:35):
So that was the fourth one, and then like three
months later we started the like real like okay, now
we're in it. But by then they had raised all
the money because the music, like you guys the music
is so ridiculous. It still is, like yeah, browing on
it now again, I'm like, oh my god, it's all
so much music.
Speaker 2 (15:51):
I always how much did the music change, if at all, from.
Speaker 4 (15:56):
Like hardly any isn't that crazy? Like the music like
it literally good Morning Baltimore. Like I have a demo
of Annie Golden singing good Morning Baltimore and like Nathan
Lane in like for Mark just to like play it
out and Nathan Lane doing Timeless and like them just
like and Mark Shaman singing Timeless, but like like the
demos are like good Morning Baltimore. I mean, now, look,
(16:19):
I'm sure like Mark and Scott would say some of
it changed, but in my ears it didn't change.
Speaker 3 (16:23):
So for sure it might have.
Speaker 2 (16:25):
Changed some orchestra change, but like like I.
Speaker 4 (16:29):
Feel like it was the third reading they have that
like the meeting, and they were like, Tracy needs and.
Speaker 3 (16:34):
I want song. Good Morning Baltimore isn't the I want song.
Speaker 4 (16:37):
So then they wrote I Can get the Bells, which
is like as an actress for I'm like definitely an actress,
but I like act like a singer and dancer, like
that's my like mych stick. I'm like I can act
like anything, but but I'm definitely.
Speaker 3 (16:48):
A more of an actress.
Speaker 4 (16:50):
But like I can act, like I can dance, I
can act, like I can sing, but but Bells for
me is like the most like perfect storytelling song and
like it to like root for Tracy and you know.
Speaker 3 (17:02):
But there was a time.
Speaker 4 (17:04):
When Margot Lyon, who's passed away now and the most
one of my mentors and best producer ever, she decided
that I know where I've been in act too, like
the big the most important song in the whole show,
what the whole show is about, I know where I've been.
She was like, it's too depressing, and then they made
like an up tempo song. And then there's like a
whole lore of like Mark Shaman being like, I'm not, like,
(17:28):
we're not doing the show if if I know where
I've been, isn't in the show, and he like fought
and thought, I remember them fighting in Seattle when we
were out of town about it, and then don't I
don't I honestly think it was.
Speaker 3 (17:40):
I mean, and this is me just telling Laura.
Speaker 4 (17:42):
I don't know exactly what the truth like at the
twenty some years ago, but I feel like it was
that like Shaman and Scott Whitman Mark Shaman's that women
were like, we're not doing the show of this song
doesn't stay in kind of thing. And Margo afterwards were like,
you were right, this was the most important song in
the show.
Speaker 3 (17:59):
You know, but I know that the mother daughter, like.
Speaker 4 (18:03):
I know that Velma song Baltimore Crabs changed a lot,
but again like not that much.
Speaker 3 (18:09):
You can see you can't stop the beat.
Speaker 1 (18:10):
But how many musicals do you now workshop where you
see that go through the thousands of songs that get put,
you know, in the garbage and get replaced with something
else for this musical, but it's basically an opera, but
you basically have an opera and it is Yeah, not
a lot changed. That's crazy.
Speaker 3 (18:30):
It's they just crazy.
Speaker 4 (18:32):
They It was like they're so I mean, market Scott
are so good and what's crazy is now like directing
it Like I don't think I realized just how much
like the talking is literally just getting us into the
next song. And I and I think because I was traded,
like because in my mind maybe because I was Tracy
(18:52):
and I'm the one who does most of the talking
and then people like come in it's not.
Speaker 3 (18:57):
It really wasn't until directing it now that I'm like,
oh oh oh there's Oh.
Speaker 4 (19:03):
Thank god, I have the most amazing choreographer with me,
because I'm like, Okay, go do the chore and I'm
literally just sitting there for like two hours, like I
have nothing to do because I'm literally just waiting for
the number to be choreographed.
Speaker 3 (19:15):
Because it's like, wow, that's all.
Speaker 4 (19:17):
Numbers and it's everybody, like it's a cast of like
twenty eight people and everybody's in everything.
Speaker 3 (19:22):
You know, It's like it's crazy. Yeah.
Speaker 2 (19:24):
We just talked to Adam Shankman, who directed the movie. Yeah,
and he said the exact same thing, and I like watching,
like watching the movie, I didn't even assarily did he.
Speaker 3 (19:33):
Choreographed the movie as well? Yeah, like he did.
Speaker 1 (19:36):
Well, he had choreographed the whole thing before they started,
and that way he wasn't waiting like you because it
is so music heavy with the ensemble. It's crazy.
Speaker 4 (19:48):
It's so it's so every it's like a banger after banger,
and it's funny because you're like after Baltimore, You're like, well, Okay,
that's the best number ever, and then you're like wait,
we're following up that with nicest kids in town. That's
the next number that's not even like the big number.
And then you're like, oh my god, and I'm Niceana.
Speaker 3 (20:04):
Now it goes right in.
Speaker 4 (20:05):
And then you're like, oh my god. And now we're
at sixties, and now we're it was like mama and
a big girl. Now then sixties. Then you're like literally
run until that and you're like, oh my god, and
a big blond and beautiful, and you're like one is over.
Speaker 3 (20:14):
And you're like nobody said anything.
Speaker 4 (20:18):
Moving, Like I'm like, oh my gosh, I'm like, hey,
can I poel you guys for seen? Then I'll be
like here's a half a page. Okay, that's you're blocking, great,
go back to Clarice. Like I'm like, this is crazy.
Speaker 2 (20:29):
But it's crazy that it works. So you get the
full story. You feel like you know every character, every
character's intention, what they all add to the group. And
yet there's it's so efficient and all music really.
Speaker 1 (20:42):
Does move the story. There's a lot of musicals you're like, right,
there's nowhere else to go but to sing, but like
this moves the story in such a beautiful way, and
like that's the thing with like TV, uh, you know,
musical TV shows that you kind of run into where
you're like, right, stuck this one in because you know whatever,
(21:02):
they like the song. But like Hairspray, it's just it's perfect,
it's perfect. The film was perfect, this age person's perfect.
Speaker 3 (21:08):
It's perfect. It's perfectly perfect.
Speaker 4 (21:12):
And so it's like it just never it's it doesn't stop,
like I just don't understand it. Like it's funny because
like when I actually feel like being in it is
less exhausting than directing it because I'm just like staring
at it like, oh my god, this is so exhaust
Like I'm literally like I'm so ignausted, Like you guys
(21:32):
are working.
Speaker 2 (21:33):
So so hard.
Speaker 1 (21:36):
I want to talk about the directing more too, But
I'm curious, like along the way the process of you know,
doing the readings out of town, coming to New York,
when did it hit for you that you were like,
oh this is really special or did it like when
was that moment?
Speaker 3 (21:52):
Right?
Speaker 4 (21:53):
Well, Like it's funny because through my journey of Hairspray,
like it's such a like and I don't want I
do not want to lie like sidebar and deep dive
into this but it's like during like between the third
reading and the fourth reading, I got cancer, so that
like I know, it's like I'm like and I talk
about it a lot, and it's like it's not boring,
(22:13):
but it's just like a part of my story. But
it's like between the reading three and reading four, I
got cancer. So then all of a sudden, I was like,
I was like I had done reading three and I'm like, oh,
I love this show and I love it and this
is great and this is so much fun. And I
live in Los Angeles and I fly to New York
and I do this little music hall and then I
fly home. Then I got cancer, and I was like,
(22:33):
oh my gosh, all my dreams, everything I want to do.
My purpose on this planet was to do musical theater,
like I grew up wanting to be ethel Mermon, like
that is all I wanted to do. Like TV and
film was like because of the bar Mitzva food right,
like it was like like you were getting paid, you
could live better.
Speaker 2 (22:49):
And I was I was like, yeah, I was so.
Speaker 4 (22:52):
Happy, you know, like so it was so much more
like exciting. And then all of a sudden, like I remember,
like I would be doing like treatments or MRIs and
I would like just start at the beginning of hair
Spray in my head, and I would like do the
whole show.
Speaker 3 (23:06):
I would start a Good Morning Baltimore.
Speaker 4 (23:07):
I would like sing the whole show in my head,
like and I'd be in there for like, you know,
sometimes three hours, sometimes four hours, like just and I
would literally just start at the show, get through the
whole show. I would like try to remember what I forgot,
you know, like I would just like in my headwork
on the show. And during that time, I really was
working with Eric Vitro on finding Tracy's voice because I
knew I couldn't sustain a turn half hour show at
(23:30):
my like Broadway Belting of like Jam like Jan just
who cares? When Jan, you know, in Grease Belts, You're
like she's sayings who cares? Like if I could go
in Jan with one hundred and two fever, you know
what I mean. But like I knew, I knew I
had to like fight for the role too, because they
were auditioning through all this time, and I knew I
couldn't tell anybody I had cancer because if I told anybody,
they would one.
Speaker 3 (23:49):
Hundred percent replace me.
Speaker 4 (23:51):
Like by the way, I like now that I am
like producing and directing, I'm like, oh yeah, I would
want one hundred percent replace that girl. If she's like, oh,
like anything like I might have have a little surgery,
I'd be like, you're relace, Like I don't have that
for it, you know, Like I totally understand, like like
my thought process was correct, but so all of a sudden,
it's it's interesting, Like it went from like, yay, I
(24:12):
want to do hair Spaces, I want to be a star,
to like, I need to do this show.
Speaker 3 (24:16):
It literally was the thing.
Speaker 4 (24:17):
That like like even talking about like it made me
like half like I had to do the show and
it was like what kept me healthy and strong and
pushing through anything I had to get through physically through,
you know, and I was like I have to get better.
My eye was on the prize and I and then
so everything like shifted. Then so by the time we
(24:38):
did the fourth Hairspray reading and then went into rehearsal
of it, it was like every like I had such
a deeper feeling about the show. Then it was just
like I want to be a star like Marissa before
cancer and Marissa after cancer.
Speaker 3 (24:51):
Are like two very different beings.
Speaker 4 (24:53):
Like the girl who showed up in American beauty parties
with like flowers in her hair because you just thought
she needed to, you know, could do that.
Speaker 3 (24:59):
This this person was like, oh my gosh.
Speaker 4 (25:02):
The reason that I bought the cancer in time, the
reason I was is because I meant to do this,
and I like, I'm gonna do this, you know, And
so everything became so much less about less about being
like a Broadway star and more about like living out
my dream.
Speaker 3 (25:20):
Yeah you know, you know.
Speaker 7 (25:22):
Yeah.
Speaker 4 (25:23):
And so so when we were in Seattle, we were
out of town in Seattle, and always always we were like,
I mean, it's hair spray. Who's gonna really like are
we anyone going to really take this seriously? Like we
all were like, I mean, this is fun and the
music is amazing, but like our who knows what the
audience is going to think? You know, And like if
you link back to times two just for your audience,
(25:43):
like this is like we're not even a year from
September eleventh, Like we like September eleventh with two thousand
and one, so we were opening not even a We
opened like eight months later. Like it was like we
were like the first like we were like coming back
to New York in a time that New York was.
Speaker 3 (25:58):
Like depressed and sad and scared. So Hairspray really was
like a lightning bolt, you know.
Speaker 4 (26:04):
It was really like everything lined up in the stars
the right timing. People wanted to feel good, people cared
about what was going on in the world, but also
wanting to like laugh and have fun. So we were
in Seattle and we opening night of Seattle. I did
Good Morning Baltimore and literally, like Carrie always tells the story,
(26:24):
like we were literally the audience stop and jump to
its feet after just Good Morning Baltimore, and literally we
were all like, oh my god, we're in.
Speaker 3 (26:35):
A hit, Like we like knew it at that exact home.
It was like, yeah it was.
Speaker 4 (26:40):
And I don't really remember that because I was so
in it and just being Tracy, But Carrie and Laura
tell the story all the time like they were like
everybody was just on stage like oh my god, Like
the audience was like on its feet for like in
the first preview after Good Morning Baltimore, and like after
that it was just like go go, go, go go,
you know, so like we all knew at that moment
(27:03):
that it was like the most special thing any of
us had ever done and we're ever going to.
Speaker 2 (27:07):
Do, you know, Oh my god, it's yeah, it's so
wow beautiful to be able to, even if you were
in it, to have other people like witnessing that moment,
because it's so hard to be present, especially when you've
done for readings or whatever it may be, you've gone cancer,
gotten through the cancer, like your journey, just to even
(27:28):
get to that first preview, yeah, was so intense.
Speaker 4 (27:31):
And then and then like also like I mean, you
guys all know, I mean all Glee fans know the
Laura of Matt Morrison, who like literally we.
Speaker 3 (27:40):
Like had a different link.
Speaker 4 (27:42):
And then when we were in Seattle, like two weeks
before we opened in Seattle, that link was like I'm
leaving to go do a Spielberg movie or something. I
don't know, it was like a movie. And then literally Matt.
I was like, I think Matt is really hot. You
should make him link and they were like, honestly, they
were just trying to make me happy at that time,
because I was like a bundle of anxiety and I
(28:02):
was like.
Speaker 3 (28:02):
I like Matt, he's hot. He's hot.
Speaker 4 (28:05):
That's hot, Like it's so crazy like that always talks
about He's like Marissa literally like made them make me Link.
Speaker 3 (28:11):
Like I was like, he's so hot. Look at his hair.
Isn't he cute? Like make him just being like rushy
on the chorus boy.
Speaker 4 (28:19):
So then they made Matt Link for me, Like I
honestly think that was like Margot Lyon's gift to me
to be like, well, yeah, he's totally hot, so bring
him up to Link and he like nobody danced better than.
Speaker 3 (28:28):
Thatt, Like no, yeah, you know.
Speaker 4 (28:31):
So then like and then that's how we got John Hill,
who like came in to like be Fender Link's part.
Speaker 3 (28:36):
You know. But it was like two weeks. I remember
like going out for.
Speaker 4 (28:39):
Dinner with Matt in some like steakhouse, just trying to
be like, oh, we have to like know each other
now because we're about to do this show together.
Speaker 3 (28:46):
You know. It's like so silly, so fun.
Speaker 4 (28:49):
Yeah, and then like Matt and all of that, it's like,
you know, it's like where Matt took off from that
because of you know.
Speaker 3 (28:57):
It's like so like I always say to.
Speaker 4 (28:58):
People, I'm like, you never know what your job is
and your job, like just do your job because like
you don't know, you.
Speaker 2 (29:04):
Know, I was just thinking about that because you know,
as naive or like as silly as it may be
to like think about yourself as the girl from American
Beauty or who like went out for a wedding and
like booked a movie or a TV role, and like
how and you know, looking back as full grown adults,
of like how insane that might have been of how
(29:25):
we acted in that time. But had you not done
any of those things, have you not had the gall
to show up to those parties to be your full self,
Like you would not have gotten into hairspray and had
not taken whatever journey he did to be in a
chorus boy? Yeah, you know, and like you just it's
(29:47):
it's very true, and it's I think you paint such
a like a clear picture of that the meaning of
like you just never ever know and also like being
good to people. It's like you when you're in a
position to like, oh, we all of a sudden need
someone to play this part.
Speaker 3 (30:04):
Yeah you know he's right here.
Speaker 4 (30:06):
Yeah, oh no, I feel like that's like my like
I don't know, like and I wouldn't say gift, but
my like, I feel like I'm always the person who's
like trying, always trying to like you know, and I wait,
I'm sure like that, you know you see it in
like why like you'll like you'll see a movie and
you're like, oh, I can't believe they're working together again.
But I'm always like if I'm doing like a silly
(30:27):
show somewhere, I'm always bringing my friends, Like I'm like,
how do my friends, Like how do we all keep
working together?
Speaker 3 (30:33):
And I always tell like young kids.
Speaker 4 (30:35):
Like work with people your age and have fun with
them and then all you'll all grow together, Like you
can just keep growing together. And like Laura Belle and
me and Carrie like did our like we wrote that
show Mam and Big Girl Now that we like toured
and then we did it off Broadway last year, you know,
and got a Drama Desk nomination for which we're ridiculously
proud of because we didn't even know that was a thing.
I was getting my hair colored and they were like,
(30:56):
we just got nominated for a drama desk.
Speaker 3 (30:58):
I'm like what, cat Like I was so confused. I
would like I didn't even know that we could be
like like.
Speaker 4 (31:04):
I like love doing the show with them because for
my thing, like I just love showing other like performers
and girls, even young girls out there that like And
they always make fun of me because I say this
a lot, But it's like the three of us are
like such shiny pennies, all three of us, right, Like
Laura Bell is such a.
Speaker 3 (31:21):
Diva, and carry Butler is such an icon.
Speaker 4 (31:24):
And then I'm you know, a lunatic, but like the
three of us together, I'm like, but you can. I'm
like showing that, like women can like support and love
each other and work together and have friendships and like
carry them through. And even though like we've all been
up for same roles and one of us gets it
and like for TV, it's crazy Laura and I have
been up for so many of the same roles, and
(31:44):
like for for Broadway, like Carrie's like dumb the reading and.
Speaker 3 (31:47):
Laura's dumb the show, like you know what I mean.
Speaker 4 (31:50):
Like and it's like, but we still are like so
supportive and love each other that I like feel like
it's so important to show that. Like it's not about
like we're not against each other. It's like obviously if
you want me or don't want Laura Bell, like it
has nothing to do with Laura Bell, or if you
want Laura Bell, like if you're hiring Carrie Butler for something,
like I was never right in for yeah you know
(32:12):
what I mean. And you were like, I want a type,
so you're like, here's a type. But I like love
touring with it and like showing young girls in theater,
like and I always talk about it that, like, because
theater is such a it's such a competitive sport in
a way that like tennis is like you're always up
against your best friend. Like you know, my son plays tennis,
so I'm I always think compare it to tennis.
Speaker 2 (32:33):
But it's like that is a great comparison you want.
Speaker 4 (32:36):
You're like, oh my gosh, I want him to win.
But then if he wins, I've got to play, you know.
It's like I want her to I want her to
get that part and death becomes her. But if she
gets that part, you know.
Speaker 3 (32:44):
But like there's a room for everybody, Like there really is.
Speaker 1 (32:47):
And if you understand like the business model side of things, right,
you can support each other on the other side, right,
like tennis, you know how it works. You know, when
you get on you know court, you know, all everything
goes out the window. But like right, right, yeah.
Speaker 2 (33:03):
Today's not your day. Then, like there's going to be
another match, There's going to be another audition, another show.
Speaker 4 (33:07):
There's going to be twenty more Broadway shows next year
exactly that are not going to that are going to
be closed in a week, you know what.
Speaker 3 (33:14):
Exactly?
Speaker 2 (33:15):
Yeah, I mean that takes I think just like maturity
and time working in there. And so I feel like
we talked about it a little bit earlier about you
directing another version of Hairspray, which I want to talk about,
but I also feel like you as a director, because
you have this history of that of working with your friends,
(33:35):
supporting people working with their friends, encouraging that that you
must I feel like you must be like a really
wonderful director for these kids, for the people coming in
to do this. So tell us about this production of
Parispury you're directing.
Speaker 4 (33:46):
Well, I mean I like to I would like, I mean,
I like to think I'm awesome. Now though that I
realize how much it's about choreography and less about direction,
I'm like, oh I'm not nearly doing now. I just
feel like I'm like a line producer because I think
gizing all day long, like.
Speaker 3 (34:01):
I'm like what we need in Facebook?
Speaker 4 (34:04):
Yeah, I'm And also just like like figuring out the
schedule of like if we get this done today, then
we can get that done.
Speaker 3 (34:09):
And who I need and who I don't need.
Speaker 4 (34:11):
Like what I'm really really good at is and I'm
sure you both understand this well, is like never calling
someone in to sit, like I'm very good at like
I would.
Speaker 2 (34:22):
Yes, director, people would rather have to.
Speaker 4 (34:24):
Put somebody in because I should have called them in
them have someone sit there for four hours and be
like what am I doing here?
Speaker 6 (34:30):
You know?
Speaker 4 (34:30):
So like I'm very conscious of my call of my
schedule like that I'm very good at. I'm very good
at in hairspray, particular like being able to like bring
it back to like like I think hairspray. What's most
important about hairspray is like like I know where I've
been that number when motormouth sings that number, I I
believe that all of the pretty colors and all of
(34:53):
you know, the fact girl wanting to dance with the
boy is all just the trojan horse to get to
I know where I've been, right, So like I believe
the entire show is to teach the lesson of segregation
in the sixties and like, holy shit, like I know
where I've been, Like I've got I've come so far,
but we have so far to go. And of course,
in the climate we're in right now, it's like the
story is completely the same, nothing has changed, right, So
(35:16):
I believe that, like in the like Candy Apple of
like Tracy Turnblad with Silly Mom, really the importance of
Hairspray is getting to the story of the set of
segregation and teaching the new audiences through the comedy and
fun learning, right, That's what the story is about. So
I think that a lot of times, a lot of
(35:38):
a lot of companies will skate by that because it's
like hard, or they don't really know what to do,
or we're scared.
Speaker 3 (35:45):
To talk about it.
Speaker 4 (35:46):
And I'm not saying that I'm like leaning into it
any more than we leaned into it, but I'm definitely
not letting the company not know, like this is the
this is the important part of the show. So we
like this is like everything is up in the up
to this part of the show, or like detention when
Tracy and see we'd meet for the turry first time
and dance, and Tracy's literally like, well, why aren't you
(36:07):
can't we dance on the show together?
Speaker 3 (36:09):
And it's she's not trying to change the world.
Speaker 4 (36:11):
She's actually doesn't understand and what's so what I find
and like being able to direct it. It's like remembering
those nuances of Hairspray, like where yes where It's like,
it's not like we're not hitting you over the head
with a story.
Speaker 3 (36:26):
Just trust the words and say the words.
Speaker 4 (36:28):
Because Tracy doesn't mean to change the world until she
like is oh, okay, I'm changing the world because there's
something so much more beautiful about a teenage girl who
doesn't think there's anything to change.
Speaker 3 (36:43):
And then it's like, oh there is. She learns and
then she's like, well, let's fix that.
Speaker 4 (36:47):
Rather than like she's not a suffer jette, she's not
like she really does want to dance.
Speaker 2 (36:53):
She's like, oh, this seems wrong, let's just fix it.
Speaker 3 (36:56):
Like that seems wrong. How do we take that?
Speaker 2 (36:57):
Okay?
Speaker 6 (36:58):
You know?
Speaker 3 (36:58):
Like and I love that n like the naivete.
Speaker 4 (37:02):
Naivity is the word, like whatever that word is for
like a sixteen year old and I have I'm like
my son's now seventeen, and like I see it in
those kids and like that generation where they're like, well,
why don't we just fix it?
Speaker 3 (37:15):
Like why are we? Why aren't we just changing things?
You know what I mean?
Speaker 4 (37:18):
But not like posting a thousand posts and not quotes
after quotes after they're like, well why don't we?
Speaker 3 (37:25):
Why is it like that? You know?
Speaker 4 (37:26):
And I think that there's something like I tried to
go as young as I could when my cast. I
actually in this cast have a fifteen year old who's
playing Ipew, a sixteen year old who's playing Shelley, and
a twelve year old that's playing Little i Nes And
I like love having these kids in a very safe
theatrical environment, getting to work with a little older but
(37:48):
not like everyone's really young, really really young in my cast,
because that's when it's shown me, you know.
Speaker 1 (37:54):
Yeah exactly. I'm curious, Like, because you've been so deeply
embedded in Hairspray for so long as Tracy, how do
you remove yourself from allowing her to play Tracy like
(38:14):
and allowing Lexi to just do what she does right, well,
do best news?
Speaker 4 (38:18):
She Well, I went in like day one and I
was like, well, I'm gonna have to get her a
known on that, because that's not right, you know, Like
literally day one, I was like, well, i mean she
like that's like or like or she'll do a line
reading and I'm like, well, that's not the intention. And
then like I started realizing, I'm like, oh my god,
not realizing, but like letting, like I wasn't giving because
(38:40):
I'm also a person who's like if you come in
and give line readings and know it's day one, day two,
day three, people get scared to try. And I'm like, yeah,
I even keep saying to them, I'm like, I'd rather
you guys try.
Speaker 3 (38:50):
Like crazy big swings.
Speaker 4 (38:52):
Yeah, and then I'll and then then then be scared,
like because yeah, there's nothing worse than a timid actor
or performer, right, So, like I don't get I have
very like I really wait to give notes until every
time I've ever directed, and this in particular and this specifically,
I kind of wait until we're like running the show
unless it's like really like you're really.
Speaker 3 (39:11):
Off, because I don't want to know as.
Speaker 4 (39:14):
An actress, like it's intimidating because then it's now I'm
just performing for the director, and it's like, I don't
even know my lines yet, you know.
Speaker 1 (39:20):
You let me figure it out.
Speaker 3 (39:21):
Yeah yeah, yeah.
Speaker 4 (39:22):
Like and you and usually if you hire the right
I mean, if you hire the you're you're directing, If
you hire the right actors, you're gonna get what you want.
Speaker 3 (39:31):
That being said as being Tracy.
Speaker 4 (39:32):
It's very hard because I'm like my ear it wants
to hear a line like for example, like like like,
oh Link, if if fate makes you throw a ball
at me today, seal it with a kiss, right, And
I did it very like, oh Nate, oh Link, you know,
oh god, if they it makes you throw a bullet
(39:53):
me today, seal it with a kiss.
Speaker 3 (39:54):
Like very dreamy and quiet and to myself. And she's
like for got like super like if they makes you
throw a ball at me today, stealing with the kids.
And I'm like, oh my god, that's totally crazy.
Speaker 4 (40:06):
But then literally i want to say like three days
then I'm like, oh my god, that's hilarious. Like what
she's doing is so funny and like it's a and
her Tracy is going through a different journey than my Tracy,
and she's so like resent in a like I'm again
like I always come at things like from a I
think through everything, like I'm such a planned actress, like
(40:29):
especially in musicals or plays like a TV. You know,
we're just like, oh, we just do it and hope
they got it right. But I like I flipped my
purse the same way every time, Like I'm like, I
like my mom tells me, no, my feet tell me go,
Like I know exactly what I did, you know what
I mean, Like I can do it today, yes, And
she's coming from such a like different place of like
(40:52):
just like like I can't even it's like honesty and
like like she's just so sweet and fun and like
and honestly like a little more like gen Z, you
know what I mean. Like she's just like much more
like like confident. And then sometimes I was like, you know,
I chose I would be like I would choose to
(41:13):
not hear Amber say that, because then I would feel
like I'd have to react to that. So as an actress,
I was like, if I don't hear her, I don't
have to react, and She's like, or I just don't react,
and I was like, yeah, let's try it that way,
like and I'm like, right, because you are in a
different body in a different world, coming from a different place,
and you maybe don't find that as offensive as I'm Marisa,
(41:34):
you know what i mean. Like so many times, like
my like Edna would say something mean to me, and
I'm like, if I hear that and understand that, I
have to respond to that, So I would like choose
to like be looking at plenty and missing it sometimes,
you know, like there were different things and I'm like,
you know what, so as Tracy, it's been like a
very interesting like everybody else, I can like, oh my god,
(41:55):
I'm that's hilarious.
Speaker 3 (41:56):
I've never seen it like that. I love that choice.
Speaker 4 (41:58):
But she's like it took me a couple of days
and now I'm like I'm obsessed with her, like just
nitivity and her like optimism in a different and just
like and she's like, well break like she's like ready
to rumble and like.
Speaker 3 (42:12):
I love it.
Speaker 4 (42:12):
So like it's been really like interesting being able to
be like that's it.
Speaker 3 (42:17):
It's a great choice. I didn't see it that way.
That's a great choice.
Speaker 4 (42:20):
Like good, like good on you, you know what I mean,
Like it's cool, it's so fun.
Speaker 2 (42:24):
Wow. Yeah, it's also like a testament of how good
the show is is that people can come in in
their own bodies and experiences and love these parts in
a very different way and it still works. Yeah.
Speaker 3 (42:36):
Yeah, yeah.
Speaker 4 (42:37):
I mean it's so funny because I'm like, yeah, there's
like eighty thousand traces now the one thing that I
wanted to like make sure there was only one me.
Now I'm like, oh my god, this could be done
by like it's so beautiful. It's like, so there's so many.
And I remember doing the show and thinking, oh my god,
one day they're going to do this in high school
and like like when I was in high school, like
I wasn't getting Rizzo. I was getting like I played
(42:59):
jan and high school too, you.
Speaker 3 (43:00):
Know what I mean.
Speaker 4 (43:01):
Like, and I was like I should have been Rizzo,
like I was ten times I was. I was like
like not to be, like I was clearly a Broadway star,
Like why was I jammed?
Speaker 3 (43:11):
Like ye me Rizzo?
Speaker 7 (43:12):
You know?
Speaker 3 (43:12):
But I wasn't Rizzo because of.
Speaker 4 (43:14):
Like my body size, you know. And I remember thinking like, oh,
this is so cool. There's going to be a show
that like that girl who never gets.
Speaker 3 (43:21):
To do it gets to do it.
Speaker 4 (43:23):
And then here I am and I'm like, Oh, it's happening,
you know, like live in.
Speaker 3 (43:28):
Color, you know what I mean, It's cool.
Speaker 1 (43:30):
Yeah, this is your directorial debut, correct for like a
massive theater like this with this many people. Yeah, I've
directed a lot, like I've been directing like smaller shows
like six.
Speaker 4 (43:43):
People, seven people, fun stuff at the rock. Well, everybody's
what I mean. I did John Hill's one man Show,
Ryan o Connor's one man Show.
Speaker 3 (43:50):
I did Ali.
Speaker 4 (43:51):
Miller's one you know when she did like I've done
a lot of that, and then I directed. My first
feature was in January, and that was like my I
was like, oh, this is what I mean.
Speaker 3 (44:00):
The food's better, it's better.
Speaker 4 (44:07):
So so like that's been really fun, but this is
like it was I when they asked me to do this,
I was like, well, if I ever want to direct
in big theaters, in proper houses, with big companies with yeah,
you know, with with you know, equity actors, I'm like,
this might be my this is my way in like
you don't get to do it until you do it.
(44:27):
And I'm like, and me doing hairspray is exciting and fun.
But then like I've already been like what what are
we going to do next year? Like like what show
can I do next year? What's on your roster next year?
So that it's like to do something that's not hairspray
but I love doing. Or then I'm also like or
do I just like Paul, every theater in America be
like put up hairspray in the you know what I mean?
Speaker 3 (44:48):
Like I'm like, it's like the best move ever.
Speaker 4 (44:51):
Was like like that's so much pressent, Like do you
want me to come do hairspray at your theater? And
now I have like a choreographer and a you know,
a music director. Literally take this. I can tell you
where to get the sets and the costumes. Will just
put this up and everything right Like that seems like
an idea, send an assistance. Start it off, coming, yeah,
coming with the baby, be ready to go?
Speaker 2 (45:13):
Yeah, figured out?
Speaker 3 (45:17):
Thanks? And you like to produce that, you guys? Start?
Can you make.
Speaker 2 (45:24):
Anything?
Speaker 3 (45:25):
I'll put it in every theater, in every dinner.
Speaker 1 (45:28):
I got it. I've got a thing for you.
Speaker 3 (45:30):
I've got it, and every town I'll bring it ed.
Speaker 1 (45:37):
So funny, it's so funny.
Speaker 4 (45:40):
Do you to have a Tracy I'll be the judge
of that.
Speaker 2 (45:46):
I mean you opened soon. How how are you feeling
you've been October tenth.
Speaker 3 (45:50):
I'm so exhausted. I've never been more tired in my life.
Speaker 4 (45:52):
And I'm literally like I'm having anxiety every day about
like are they going to get it? But I'm sure
that that that's what like every direct feels I have learned,
So like I'm going to I'm going to New York
to do bat Boy because i'll uh with Alex and
carry Butler.
Speaker 3 (46:08):
But so literally, I like was reading this.
Speaker 4 (46:10):
I had my day off of Monday yesterday or whatever
day that was a couple of days ago, and I
was like, I'm going to read this script because I'm like,
oh my god, I'm leaving in like four weeks to
do this and I haven't read the script really. So
I read it and I was like, God, I wonder
if he wants me to do it this way or
this way? And I was like, maybe I'll call him.
And then I was like, because I'm like now doing
this with the hairspray, I'm like, Alex Timber does not
want me to call him and ask him what he
(46:31):
was I was like.
Speaker 3 (46:32):
Because everyone with me is like should I do this
or do this? And I'm like, oh my god, just
make a choice. I don't care.
Speaker 4 (46:37):
I will tell you the best lesson I have learned
as an actress. I was like, I am going to
and I'm just directing now in the theater. I was like,
I am not going to call Alex Timber and ask
him if he wants me to do it with a
Southern accent or not.
Speaker 3 (46:50):
I'm gonna just show up and make a choice and
let him tell me no. I was so that was
that same.
Speaker 4 (46:56):
So don't call and ask them.
Speaker 3 (47:01):
That just will scare them.
Speaker 1 (47:02):
Just do it. Just do it four weeks in advance,
like I'm preparing. I'm prepared. So you're very busy and
we're so appreciative. I have one more question for you.
We ask everybody who comes on the show, what is
the feeling that Glee leaves you with? Since you're not
E didn't Dukeallee, I'm gonna ask you what hair spray
leaves you with? What is the feeling that hairspray leaves
(47:23):
you with?
Speaker 4 (47:24):
Oh my gosh, with hope and joy and just oh
my gosh. Like well, for me, it's like it gave
me my life, so it like leaves me with just
like such gratitude and like I'm so so honored to
be a part of something.
Speaker 3 (47:40):
That, like I feel like I just love it so much.
Speaker 4 (47:42):
But like, let me tell you, Lee left me with
a lot of stuff too. Let's be clear, Like Glee
left me with like how was I never on Glee?
And was literally literally but also like I loved Blease
so much and I was so happy that it happened.
Speaker 3 (47:56):
It's like how Hairspray happened? Like I was so happy
Glee was happening.
Speaker 4 (47:59):
So I can answer that one too, Like I like
I loved Glee. I thought it like changed such like
a generation, Like I like, I think that like so
many people got into musical theater because of Glee, like
so many people, like you know, like it changed so
many many people's lives and careers that I just like
I always like had such a song, like I just
love Glee. So I think they both leave me with
such joy. I mean Glee is like how was I
(48:21):
never on?
Speaker 2 (48:22):
That?
Speaker 3 (48:22):
That makes no sense?
Speaker 1 (48:23):
Really is actually very confusing, Yeah, it is very confusing.
Speaker 2 (48:26):
A Mat Yeah, yeah, you're like man, I created you.
Speaker 4 (48:33):
No, You're just hot, Matt, you were just hot, Like
what if he like, what if he didn't have his
curly hair at the time, Like, I might not have
thought he was as hot, and then who knows.
Speaker 3 (48:40):
What would have happened not even cut his hair.
Speaker 2 (48:46):
Oh my gosh, that hair really has gotten him far.
Speaker 1 (48:49):
No, he really has good hair privilege.
Speaker 4 (48:51):
And then when he like and then when he like
cut it short, it was like also hot and like yeah,
you know what I mean, like but no his hair.
Speaker 1 (48:58):
Yeah. Anyways, mad Well, we're looking out and we're thinking
about you and you guys and telling you to break
all the legs for your exciting Thank you, have the
best time. Congratulations, it's going.
Speaker 3 (49:11):
To be great. Thank you guys so much.
Speaker 1 (49:13):
Thank you for coming on the show and gabbing.
Speaker 2 (49:14):
With Thank you. I love her. Oh my god. Go
to Ticketmaster, go get your tickets to see Marissa's production
of Hairspray. If you're in California, if you're in La.
It starts October tenth and thousand oaks. It's going to
be incredible. I'm sad I'm missing it, but jenlemen, you
(49:37):
should go see it.
Speaker 1 (49:38):
No, I have to. I have to go see it.
Speaker 2 (49:41):
It's missing.
Speaker 1 (49:42):
And she's so wonderful and so everybody go buy your tickets.
Speaker 2 (49:46):
And if you're in entertainment, you're you're trying to be
an actor or writer, producer, director, anything. A lot of
lessons from her in this episode, Yeah, a lot of
a lot of very good lessons in Yeah.
Speaker 1 (50:01):
Thanks Marsa for coming on the show and joining us.
We hope you guys enjoyed the conversation and that's what really.
Speaker 2 (50:07):
Miss Thanks for listening and follow us on Instagram at
and that's what you really miss pod. Make sure to
write us a review and leave us five stars. See
you next time.
And that's what you really missed with Jenna.
Speaker 2 (00:04):
And Kevin an iHeartRadio.
Speaker 1 (00:06):
Podcast Welcome to you, and that's what you really miss podcasts.
Oh my gosh, you have the original, original, original original
Tracy Turnbot here.
Speaker 2 (00:18):
When we emailed her, she emailed our producer and was like,
you know I'm not in the film, right, Like.
Speaker 1 (00:25):
Yes, they know that I'm not in the film.
Speaker 2 (00:27):
Yes, we want to talk to you, O g Tracy.
Speaker 1 (00:30):
We know.
Speaker 2 (00:33):
Because that's what we're doing. We can talk to whoever
we want and we're going full out on hairspray here.
Speaker 3 (00:39):
Hello.
Speaker 1 (00:40):
Yes, it's just a good conversation. She's amazing. The journey
is crazy. She's now directing a production as well. You
have to go see it if you're in the LA
area and enjoy.
Speaker 3 (00:54):
Hi guys, Hi, how are you?
Speaker 2 (00:57):
You were so excited to talk to you because one
just massive fans of you in general, Yeah, thank you,
and massive fans of all forms of hairspray.
Speaker 4 (01:08):
I mean there's so many now, it's like literally I
always say, it's like the gift that keeps on giving.
Speaker 3 (01:14):
Man, it like never happen.
Speaker 5 (01:15):
That's what we say about Glee, so right, like it
like never it's like it just never stops. Oh no,
like just when you think you can't do anything more,
you're like, oh, now there's a reunion special or like right,
or like no, I totally feel that where like somebody
wins a Tony and then they're.
Speaker 3 (01:35):
Like everybody in Glee has wanted copy.
Speaker 4 (01:39):
Right, Like every like no matter what, it's like when one,
when one succeeds, all succeeds.
Speaker 2 (01:45):
Right exactly. It's like when you're part of something, like
it's the biggest well, like Matty came into like Matt
and Jane came into it having done bigger things, Like
for all of us, it was like the biggest thing
we had done.
Speaker 4 (01:56):
No, Lee was the I mean sure Matt had done
big things, but nothing was bigger than Glee.
Speaker 1 (02:03):
Yeah, I mean Maybee but no.
Speaker 4 (02:06):
But really no, like think about it, like, yes, she
done big things, but like it's like, yeah, that's like
from my generation. It's like that's nine two and oh
there was nothing going to be bigger than that for
Tory Spelling and like that that was always going to
be you know, like for me, hairs There'll be nothing
bigger than hairspray for me, no matter what I do
like it will never be you know for me Marissa,
(02:29):
and you know what I mean, I don't know.
Speaker 1 (02:30):
Well, speaking of yes, we have to go back to
the beginning.
Speaker 2 (02:35):
Let's go take us back.
Speaker 1 (02:36):
You're still in it now, but yeah.
Speaker 4 (02:38):
We're going to get it's always right, It's always life.
Speaker 3 (02:45):
No.
Speaker 4 (02:45):
I literally like mark date like I can mark times
and dates and like what what I was doing with
hairspray at that time?
Speaker 3 (02:52):
Like it's so crazy.
Speaker 1 (02:54):
So I mean dig us back to earlier like cre Hairspray?
When you got your audition, did you go to an
open call? Did you get like an agent's call? Like
what was what was that?
Speaker 6 (03:07):
No?
Speaker 4 (03:07):
I was like the crazy person who literally I was
I did Greece on Broadway for four years. I was
in Greece on Broadway for four Like I would like
the person who was like I was like nineteen me
and Sutton Foster.
Speaker 3 (03:19):
And we're like we're not relieving, like we.
Speaker 4 (03:20):
Were the understudies and then we moved and then like
and then like we like could you imagine? Like and
I know I always like make this joke, but it's
like if you have Marissa Winoca and Sutton Foster as
your understudies, You're like those is like not like that's
an insane understudies situation, right, Like that show is insane,
like not that, Like both of us were waiting to
push people down the stairs, but we also were like
(03:41):
waited to push people down.
Speaker 3 (03:42):
The stairs, you know what I mean.
Speaker 4 (03:43):
I mean, I'm not gonna speak for Ston. She's probably
a much better person than I am. But I was
like waiting for the girl to just take a day
off so like I could go on, you know, yes,
Like I was like, when I go on, they're gonna
know that I'm the best jam ever, Like who cares
about jan So But then I moved into the role
and I stayed in that show for four years, like
(04:03):
I was never going to wow. And then and Lucy Lawless,
who Zena was like in Greece with us, and she.
Speaker 3 (04:12):
Was getting married.
Speaker 4 (04:13):
So when she got married in California, I was like,
I'd never been to the West Coast, so I was like,
cause I'm just you know, New Yorker born and raised
like never really like my parents, like we would travel
to like Amsterdam amper holiday, but we would never like
go any place sunny, like they were like it was
always educational grown up now, I'm like that's so much cooler.
But as a kid, you're like, I just want to
(04:33):
go to like Bahama.
Speaker 3 (04:38):
Never went to Disney World, never Disneyland.
Speaker 4 (04:40):
Like my parents only like we would like get a cheap,
you know, cheap ticket to wherever in Europe and I'd
be like, oh, another museum. Lucy got married in California
in March of ninety eight and I literally went out
for her wedding and was like, oh my gosh, like
(05:00):
I didn't even understand TV or film, like I had
no like I just wanted to do Broadway. And I
lied to my agent, my like Broadway agent, and was like,
maybe I'm want to do TV and film just because
I was like in California for three weeks on board
and I like booked stuff like what like immediately booked.
Speaker 3 (05:17):
I think it was like, you.
Speaker 4 (05:19):
Know, well, also there was like when when I tell you,
like when you go back to ninety eight, there was
not a chubby character, like there was like five of us,
Like there was none like now it's like the Internet,
Like now it's like every single person can work any
shape in any size, which is so much better. But
it was not better for me at that time. At
that time, it was better that nobody else could work
(05:40):
but me and I like, I think my first movie.
Speaker 3 (05:44):
Was Teaching Missus Tingle.
Speaker 4 (05:46):
And because I got like a crazy one line in
the movie, I had to be in like Helen Nearn's
like class like for like three weeks, and honestly, you guys,
I was like this is I remember calling my mom
and just because I'd never seen craft service before and
I was like, I was like, this is a bar
mitzvah every day, Like there's so much food. I'm like,
(06:07):
I'm never leaving Los Angeles. I was like I couldn't believe,
but not because like I'm Broadway. You know, it's like
on Broadway you get like on Sunday, somebody brings bagels,
but like one Sunday it's your turn. You know, nothing's free.
And I lived in and in the LA I mean
in New York. I lived in a three bedroom with
four people. I was starring on Broadway, and then I
(06:28):
moved to LA and I was like in my own
apartment for like for free and bar mitzvah every day
of food and I would like take the like tray
of food and then I'd be like, oh, I'm just
taking this for later for dinner to take home. Yes,
I've never seen anything like at Covid ruined that bar
mitzvah just let me tell you. But yeah, But so
I started working in TV and Philmon was like, I'm
(06:50):
never going back. I made my brother shit me by
my New York apartment. I know this is going to
get to Harrispy.
Speaker 3 (06:55):
Sorry, I'm not.
Speaker 2 (06:57):
This is what you're here for. This is great.
Speaker 1 (07:00):
We're recounting.
Speaker 2 (07:01):
I like to know the long story.
Speaker 3 (07:04):
Yeah, I like bic worts are so long. I'm sorry.
So I literally did so.
Speaker 4 (07:10):
Then I bought American Beauty and I was an American
Beauty for like I had literally like two days of
work on American Beauty.
Speaker 3 (07:15):
But like my dad but like but like my line.
Speaker 4 (07:20):
Was like and then that was in the Oscars like
that clip, like I was the Oscar clip and like
my face was like on the I still have it,
like on the cover of Variety and I'd done one
line and I was like, well, I meant to be
a star, Like I was so oblip, Like I was
just like showing up. Like my friends at that time
were like They're like, there's a Vanity Fair party and
(07:41):
I'm like, well, I'm in the movie, and I would
just show up. I was so young, and I would
just show up at the parties, like dressed totally to
the nines with like ros I always wore like roses
in my hair for American Beauty and like people still.
Speaker 3 (07:52):
Talk about it.
Speaker 4 (07:52):
They're like, there's this one guy, Chip who like would
be like the guy who would like let people in
or out at like because he worked for DreamWorks at
the time, and he would just like laugh. Because I
was so young and naive that I just thought, like
I have a line in the movie. I should be
at the parties and they'd like let me in everywhere,
you know, like like and then they started just inviting
me because they didn't know, like they didn't know what
(08:12):
to do with me, because I would just show like
now if I'm even if I'm in a TV show, now,
I'd like barely go to the wrap party because I'm like, oh,
I was just thinking, oh my god, it was just
referring guest star, like nobody even knows I'm made it, like,
but like twenty two, I was like I'm the star.
Speaker 6 (08:26):
You know.
Speaker 3 (08:28):
It was so crazy, So you know.
Speaker 4 (08:30):
I was in American Beauty and Robbie Marshall, who was
directing Hairspray at the time, was friends with Dan Jinks,
who was like my main producer on American Beauty, and
he was like and he was. They were just at
dinner or talking and they were like, I about about
doing Hairspray the musical, and Robbie Marshall was like, but
we're never going to find that girl, you know, and
Dan James, who was my main producer, was like, there
(08:53):
was this girl who we just shot America like because
we had it hadn't come out yet, but just ind
in American Beauty, and like I'm telling you, like I
remember her talking about being on Broadway, so I think
she must be able to sing like she's literally Tracy Turnblatt.
And so then I remember the phone rang and it
said dream Works.
Speaker 3 (09:10):
And this is how crazy I am, you guys.
Speaker 4 (09:13):
It's the caller Idea said DreamWorks, and I literally was like,
oh my god, they're writing an entire movie for that girl,
Like I in my mind and I remember it happening
like like it was young.
Speaker 3 (09:25):
I remember that more.
Speaker 4 (09:26):
Than my son's birth, Like that's how much I remember,
Like seeing DreamWorks come up on my collar idea and
I'm like, oh my god, the mister Smiley's Girls is
getting an entire movie.
Speaker 3 (09:35):
Like that's how how crazy?
Speaker 4 (09:37):
I was, right, So I literally picked up and I'm
like h hmm, like all excited, like they're going to
offer me like my own movie, like you know, Al's
Ball is going to write me this feature about working
at mister Smiley's you know counter And they.
Speaker 1 (09:50):
Were like, honestly good, yeah, yeah, I.
Speaker 3 (09:54):
Mean I would watch that movie. I think I think
we should I think that girl still works there. We
should write it right now, let's do.
Speaker 4 (10:02):
And they basically he was like, I want I want
to introduce you to Robbie Marshall. I want you to an
audition for this. And I was like, oh, a musical,
Like I was so bummed.
Speaker 3 (10:12):
Yea, I know.
Speaker 2 (10:13):
I was like I'm doing.
Speaker 3 (10:15):
I was like Broadway.
Speaker 4 (10:19):
And then so then I went over to Mark Shaman
and Scott Woman's house. They had a place in Laurel
Canyon up the hill. I was the first person to
even meet on the musical like this is ninety nine,
nineteen ninety nine, and I walked up the stairs and
I was like, I didn't do my you know, we didn't.
I didn't listen. I'm old, so like there was no
(10:40):
research to be done. I don't really have internet. I
wasn't like now, we're like we have an audition now,
and you're like every research, You're like, I know everybody
in the room. I know every I was like who
are they? And I'm like walking in the house and
there's like all the movie posters that Mark had scored,
and then there was like south Park big, you know, big,
bigger and uncut, and I.
Speaker 3 (10:57):
Was like, you guys did steut. I was like, you
did south Park?
Speaker 4 (11:00):
And I was like freaking out about the south Park
the musical movie, you know. And then I sang for
them and they were like, listen, we want you to
come do the reading, but you're probably not going to
do the role because we're gonna do we don't have
time to do more auditions. We're going to do more
auditions as we get and they did. I mean they
did auditions for the two years that I did the
readings for Hairspray. They were doing auditions like there would
(11:21):
literally be like auditions in the like other studio wall.
Speaker 3 (11:24):
We're working down on.
Speaker 4 (11:26):
It literally and they would be like like literally, I
remember walking out once and they're like, are you Tracy
Turnblack come to.
Speaker 7 (11:31):
The audition, and I'm like, guys, here they didn't know
that they had someone who was an understudy that had
been waiting in the wings and knew how to make
sure no one took their job.
Speaker 4 (11:43):
I made I knew well, I didn't let my understudy
go on for a really long time.
Speaker 3 (11:49):
And then when they did the.
Speaker 4 (11:50):
Show after I did it for a year in LA
or New York, and then they brought it to LA
in like two thousand and four, I was like, I'm
not letting anybody in Los Angeles know that anyone else
can play this role, because like now, like I was
in it, I was like, oh, there's like forty girls
that can play this role today. You know, like once
you're in it, you like know you're like, oh, I
see Carly Gibson illis at all, Like I knows all
(12:11):
these girls. I'm like yeah, And I was like I'm
going to do the La Pantagious run just so that
like to keep it for like one more year, making
sure that nobody knew anyone else to be Tracy, like
like that poor girl who was on tour.
Speaker 3 (12:23):
It was.
Speaker 4 (12:23):
And by the way, it was the LUs at all
who was clearly is like like, first of all, like
I'm the most talented girl in the world. But I
was like, she will not play Tracy, like like I'm.
Speaker 3 (12:35):
Such a psycho.
Speaker 6 (12:36):
Yeah, what was the readings process?
Speaker 2 (12:47):
Like, like how many readings did it go through? Because
when we talked about the musical in the movie, we
were saying, like what a tight and like perfect structure
the show is it is, and so like what was
that ironing process during the Yeah, the readings, well, yeah
we did.
Speaker 4 (13:05):
We did like four proper readings. We never did like
a dance workshop. We never did like we like did.
The first one was only like act one and it
was like upstairs and Laura Bell always talks about how
like you could smell the like fish and like food
brewing on it was like an old building where like
you can smell the restaurant coming through.
Speaker 3 (13:26):
She had a much better description.
Speaker 4 (13:28):
I can't, like I can't exactly remember exactly her words
because she's so much better with words than I am.
Speaker 3 (13:33):
But detail words I can.
Speaker 4 (13:36):
I can.
Speaker 3 (13:36):
I can out.
Speaker 4 (13:37):
Talk obviously anyone, but Laura can give you like details
of smells. But we did that first one and it
was only act one.
Speaker 1 (13:45):
Wow.
Speaker 3 (13:47):
And then we went back and did and it was
always it was always.
Speaker 4 (13:50):
Me and Harvey and Dick, La Tessa and Laura Bell.
Laura Bell missed one of the readings, but it was
because she like was worth you know, on a soap
oper or something, but was back. But like after the
third reading, that's when uh, Robbie Marshall left to go
do Chicago, that flop of a movie he like went
(14:12):
off to do Chicago. And so that's when Jerry and
Jack came in. And when Jerry Mitchell and Jack O'Brien
came in, we were all like, we're all gonna lose
our jobs because everybody knows like directors like to bring
in their like like like to have their own cast,
Like they don't want to just take someone else's cast.
Speaker 3 (14:27):
That's not their like way, you know. So the end
they so the fourth reading was.
Speaker 4 (14:33):
Under like the guise of like everybody knew, like we're
never going like this is to like get the money
from the producers, but like none of us were going
to make it. And thankfully, thank god, like they didn't
have like the egos that a lot of directors and
choreographers have like thank god they knew they saw the
magic in the room of like Harvey and me and Dick.
And then that was the time that uh Cory Reynolds,
(14:55):
who was our seaweed, it was his first time doing
like he had just moved from under like you know,
ensemble boy to that role because they didn't like somebody
felt like the guy fell out or something.
Speaker 3 (15:06):
And then he stayed, Laura stayed.
Speaker 4 (15:09):
Harry Butler, that's when Carry Butler came in and like
we never had a care like they were at one
point talking they were like do we even need Penny
because like they couldn't find a girl to play Penny,
Like it was such a crazy like people.
Speaker 3 (15:21):
Just kept not it just kept not working.
Speaker 4 (15:23):
Yeah, and then Carrie, of course Harry Butler is like,
so such a dream, such a dream and totally and
so then she stayed, and then a lot of the
ensemble people came in and stayed.
Speaker 3 (15:33):
So that was that was like the best.
Speaker 4 (15:35):
So that was the fourth one, and then like three
months later we started the like real like okay, now
we're in it. But by then they had raised all
the money because the music, like you guys the music
is so ridiculous. It still is, like yeah, browing on
it now again, I'm like, oh my god, it's all
so much music.
Speaker 2 (15:51):
I always how much did the music change, if at all, from.
Speaker 4 (15:56):
Like hardly any isn't that crazy? Like the music like
it literally good Morning Baltimore. Like I have a demo
of Annie Golden singing good Morning Baltimore and like Nathan
Lane in like for Mark just to like play it
out and Nathan Lane doing Timeless and like them just
like and Mark Shaman singing Timeless, but like like the
demos are like good Morning Baltimore. I mean, now, look,
(16:19):
I'm sure like Mark and Scott would say some of
it changed, but in my ears it didn't change.
Speaker 3 (16:23):
So for sure it might have.
Speaker 2 (16:25):
Changed some orchestra change, but like like I.
Speaker 4 (16:29):
Feel like it was the third reading they have that
like the meeting, and they were like, Tracy needs and.
Speaker 3 (16:34):
I want song. Good Morning Baltimore isn't the I want song.
Speaker 4 (16:37):
So then they wrote I Can get the Bells, which
is like as an actress for I'm like definitely an actress,
but I like act like a singer and dancer, like
that's my like mych stick. I'm like I can act
like anything, but but I'm definitely.
Speaker 3 (16:48):
A more of an actress.
Speaker 4 (16:50):
But like I can act, like I can dance, I
can act, like I can sing, but but Bells for
me is like the most like perfect storytelling song and
like it to like root for Tracy and you know.
Speaker 3 (17:02):
But there was a time.
Speaker 4 (17:04):
When Margot Lyon, who's passed away now and the most
one of my mentors and best producer ever, she decided
that I know where I've been in act too, like
the big the most important song in the whole show,
what the whole show is about, I know where I've been.
She was like, it's too depressing, and then they made
like an up tempo song. And then there's like a
whole lore of like Mark Shaman being like, I'm not, like,
(17:28):
we're not doing the show if if I know where
I've been, isn't in the show, and he like fought
and thought, I remember them fighting in Seattle when we
were out of town about it, and then don't I
don't I honestly think it was.
Speaker 3 (17:40):
I mean, and this is me just telling Laura.
Speaker 4 (17:42):
I don't know exactly what the truth like at the
twenty some years ago, but I feel like it was
that like Shaman and Scott Whitman Mark Shaman's that women
were like, we're not doing the show of this song
doesn't stay in kind of thing. And Margo afterwards were like,
you were right, this was the most important song in
the show.
Speaker 3 (17:59):
You know, but I know that the mother daughter, like.
Speaker 4 (18:03):
I know that Velma song Baltimore Crabs changed a lot,
but again like not that much.
Speaker 3 (18:09):
You can see you can't stop the beat.
Speaker 1 (18:10):
But how many musicals do you now workshop where you
see that go through the thousands of songs that get put,
you know, in the garbage and get replaced with something
else for this musical, but it's basically an opera, but
you basically have an opera and it is Yeah, not
a lot changed. That's crazy.
Speaker 3 (18:30):
It's they just crazy.
Speaker 4 (18:32):
They It was like they're so I mean, market Scott
are so good and what's crazy is now like directing
it Like I don't think I realized just how much
like the talking is literally just getting us into the
next song. And I and I think because I was traded,
like because in my mind maybe because I was Tracy
(18:52):
and I'm the one who does most of the talking
and then people like come in it's not.
Speaker 3 (18:57):
It really wasn't until directing it now that I'm like,
oh oh oh there's Oh.
Speaker 4 (19:03):
Thank god, I have the most amazing choreographer with me,
because I'm like, Okay, go do the chore and I'm
literally just sitting there for like two hours, like I
have nothing to do because I'm literally just waiting for
the number to be choreographed.
Speaker 3 (19:15):
Because it's like, wow, that's all.
Speaker 4 (19:17):
Numbers and it's everybody, like it's a cast of like
twenty eight people and everybody's in everything.
Speaker 3 (19:22):
You know, It's like it's crazy. Yeah.
Speaker 2 (19:24):
We just talked to Adam Shankman, who directed the movie. Yeah,
and he said the exact same thing, and I like watching,
like watching the movie, I didn't even assarily did he.
Speaker 3 (19:33):
Choreographed the movie as well? Yeah, like he did.
Speaker 1 (19:36):
Well, he had choreographed the whole thing before they started,
and that way he wasn't waiting like you because it
is so music heavy with the ensemble. It's crazy.
Speaker 4 (19:48):
It's so it's so every it's like a banger after banger,
and it's funny because you're like after Baltimore, You're like, well, Okay,
that's the best number ever, and then you're like wait,
we're following up that with nicest kids in town. That's
the next number that's not even like the big number.
And then you're like, oh my god, and I'm Niceana.
Speaker 3 (20:04):
Now it goes right in.
Speaker 4 (20:05):
And then you're like, oh my god. And now we're
at sixties, and now we're it was like mama and
a big girl. Now then sixties. Then you're like literally
run until that and you're like, oh my god, and
a big blond and beautiful, and you're like one is over.
Speaker 3 (20:14):
And you're like nobody said anything.
Speaker 4 (20:18):
Moving, Like I'm like, oh my gosh, I'm like, hey,
can I poel you guys for seen? Then I'll be
like here's a half a page. Okay, that's you're blocking, great,
go back to Clarice. Like I'm like, this is crazy.
Speaker 2 (20:29):
But it's crazy that it works. So you get the
full story. You feel like you know every character, every
character's intention, what they all add to the group. And
yet there's it's so efficient and all music really.
Speaker 1 (20:42):
Does move the story. There's a lot of musicals you're like, right,
there's nowhere else to go but to sing, but like
this moves the story in such a beautiful way, and
like that's the thing with like TV, uh, you know,
musical TV shows that you kind of run into where
you're like, right, stuck this one in because you know whatever,
(21:02):
they like the song. But like Hairspray, it's just it's perfect,
it's perfect. The film was perfect, this age person's perfect.
Speaker 3 (21:08):
It's perfect. It's perfectly perfect.
Speaker 4 (21:12):
And so it's like it just never it's it doesn't stop,
like I just don't understand it. Like it's funny because
like when I actually feel like being in it is
less exhausting than directing it because I'm just like staring
at it like, oh my god, this is so exhaust
Like I'm literally like I'm so ignausted, Like you guys
(21:32):
are working.
Speaker 2 (21:33):
So so hard.
Speaker 1 (21:36):
I want to talk about the directing more too, But
I'm curious, like along the way the process of you know,
doing the readings out of town, coming to New York,
when did it hit for you that you were like,
oh this is really special or did it like when
was that moment?
Speaker 3 (21:52):
Right?
Speaker 4 (21:53):
Well, Like it's funny because through my journey of Hairspray,
like it's such a like and I don't want I
do not want to lie like sidebar and deep dive
into this but it's like during like between the third
reading and the fourth reading, I got cancer, so that
like I know, it's like I'm like and I talk
about it a lot, and it's like it's not boring,
(22:13):
but it's just like a part of my story. But
it's like between the reading three and reading four, I
got cancer. So then all of a sudden, I was like,
I was like I had done reading three and I'm like, oh,
I love this show and I love it and this
is great and this is so much fun. And I
live in Los Angeles and I fly to New York
and I do this little music hall and then I
fly home. Then I got cancer, and I was like,
(22:33):
oh my gosh, all my dreams, everything I want to do.
My purpose on this planet was to do musical theater,
like I grew up wanting to be ethel Mermon, like
that is all I wanted to do. Like TV and
film was like because of the bar Mitzva food right,
like it was like like you were getting paid, you
could live better.
Speaker 2 (22:49):
And I was I was like, yeah, I was so.
Speaker 4 (22:52):
Happy, you know, like so it was so much more
like exciting. And then all of a sudden, like I remember,
like I would be doing like treatments or MRIs and
I would like just start at the beginning of hair
Spray in my head, and I would like do the
whole show.
Speaker 3 (23:06):
I would start a Good Morning Baltimore.
Speaker 4 (23:07):
I would like sing the whole show in my head,
like and I'd be in there for like, you know,
sometimes three hours, sometimes four hours, like just and I
would literally just start at the show, get through the
whole show. I would like try to remember what I forgot,
you know, like I would just like in my headwork
on the show. And during that time, I really was
working with Eric Vitro on finding Tracy's voice because I
knew I couldn't sustain a turn half hour show at
(23:30):
my like Broadway Belting of like Jam like Jan just
who cares? When Jan, you know, in Grease Belts, You're
like she's sayings who cares? Like if I could go
in Jan with one hundred and two fever, you know
what I mean. But like I knew, I knew I
had to like fight for the role too, because they
were auditioning through all this time, and I knew I
couldn't tell anybody I had cancer because if I told anybody,
they would one.
Speaker 3 (23:49):
Hundred percent replace me.
Speaker 4 (23:51):
Like by the way, I like now that I am
like producing and directing, I'm like, oh yeah, I would
want one hundred percent replace that girl. If she's like, oh,
like anything like I might have have a little surgery,
I'd be like, you're relace, Like I don't have that
for it, you know, Like I totally understand, like like
my thought process was correct, but so all of a sudden,
it's it's interesting, Like it went from like, yay, I
(24:12):
want to do hair Spaces, I want to be a star,
to like, I need to do this show.
Speaker 3 (24:16):
It literally was the thing.
Speaker 4 (24:17):
That like like even talking about like it made me
like half like I had to do the show and
it was like what kept me healthy and strong and
pushing through anything I had to get through physically through,
you know, and I was like I have to get better.
My eye was on the prize and I and then
so everything like shifted. Then so by the time we
(24:38):
did the fourth Hairspray reading and then went into rehearsal
of it, it was like every like I had such
a deeper feeling about the show. Then it was just
like I want to be a star like Marissa before
cancer and Marissa after cancer.
Speaker 3 (24:51):
Are like two very different beings.
Speaker 4 (24:53):
Like the girl who showed up in American beauty parties
with like flowers in her hair because you just thought
she needed to, you know, could do that.
Speaker 3 (24:59):
This this person was like, oh my gosh.
Speaker 4 (25:02):
The reason that I bought the cancer in time, the
reason I was is because I meant to do this,
and I like, I'm gonna do this, you know, And
so everything became so much less about less about being
like a Broadway star and more about like living out
my dream.
Speaker 3 (25:20):
Yeah you know, you know.
Speaker 7 (25:22):
Yeah.
Speaker 4 (25:23):
And so so when we were in Seattle, we were
out of town in Seattle, and always always we were like,
I mean, it's hair spray. Who's gonna really like are
we anyone going to really take this seriously? Like we
all were like, I mean, this is fun and the
music is amazing, but like our who knows what the
audience is going to think? You know, And like if
you link back to times two just for your audience,
(25:43):
like this is like we're not even a year from
September eleventh, Like we like September eleventh with two thousand
and one, so we were opening not even a We
opened like eight months later. Like it was like we
were like the first like we were like coming back
to New York in a time that New York was.
Speaker 3 (25:58):
Like depressed and sad and scared. So Hairspray really was
like a lightning bolt, you know.
Speaker 4 (26:04):
It was really like everything lined up in the stars
the right timing. People wanted to feel good, people cared
about what was going on in the world, but also
wanting to like laugh and have fun. So we were
in Seattle and we opening night of Seattle. I did
Good Morning Baltimore and literally, like Carrie always tells the story,
(26:24):
like we were literally the audience stop and jump to
its feet after just Good Morning Baltimore, and literally we
were all like, oh my god, we're in.
Speaker 3 (26:35):
A hit, Like we like knew it at that exact home.
It was like, yeah it was.
Speaker 4 (26:40):
And I don't really remember that because I was so
in it and just being Tracy, But Carrie and Laura
tell the story all the time like they were like
everybody was just on stage like oh my god, Like
the audience was like on its feet for like in
the first preview after Good Morning Baltimore, and like after
that it was just like go go, go, go go,
you know, so like we all knew at that moment
(27:03):
that it was like the most special thing any of
us had ever done and we're ever going to.
Speaker 2 (27:07):
Do, you know, Oh my god, it's yeah, it's so
wow beautiful to be able to, even if you were
in it, to have other people like witnessing that moment,
because it's so hard to be present, especially when you've
done for readings or whatever it may be, you've gone cancer,
gotten through the cancer, like your journey, just to even
(27:28):
get to that first preview, yeah, was so intense.
Speaker 4 (27:31):
And then and then like also like I mean, you
guys all know, I mean all Glee fans know the
Laura of Matt Morrison, who like literally we.
Speaker 3 (27:40):
Like had a different link.
Speaker 4 (27:42):
And then when we were in Seattle, like two weeks
before we opened in Seattle, that link was like I'm
leaving to go do a Spielberg movie or something. I
don't know, it was like a movie. And then literally Matt.
I was like, I think Matt is really hot. You
should make him link and they were like, honestly, they
were just trying to make me happy at that time,
because I was like a bundle of anxiety and I
(28:02):
was like.
Speaker 3 (28:02):
I like Matt, he's hot. He's hot.
Speaker 4 (28:05):
That's hot, Like it's so crazy like that always talks
about He's like Marissa literally like made them make me Link.
Speaker 3 (28:11):
Like I was like, he's so hot. Look at his hair.
Isn't he cute? Like make him just being like rushy
on the chorus boy.
Speaker 4 (28:19):
So then they made Matt Link for me, Like I
honestly think that was like Margot Lyon's gift to me
to be like, well, yeah, he's totally hot, so bring
him up to Link and he like nobody danced better than.
Speaker 3 (28:28):
Thatt, Like no, yeah, you know.
Speaker 4 (28:31):
So then like and then that's how we got John Hill,
who like came in to like be Fender Link's part.
Speaker 3 (28:36):
You know. But it was like two weeks. I remember
like going out for.
Speaker 4 (28:39):
Dinner with Matt in some like steakhouse, just trying to
be like, oh, we have to like know each other
now because we're about to do this show together.
Speaker 3 (28:46):
You know. It's like so silly, so fun.
Speaker 4 (28:49):
Yeah, and then like Matt and all of that, it's like,
you know, it's like where Matt took off from that
because of you know.
Speaker 3 (28:57):
It's like so like I always say to.
Speaker 4 (28:58):
People, I'm like, you never know what your job is
and your job, like just do your job because like
you don't know, you.
Speaker 2 (29:04):
Know, I was just thinking about that because you know,
as naive or like as silly as it may be
to like think about yourself as the girl from American
Beauty or who like went out for a wedding and
like booked a movie or a TV role, and like
how and you know, looking back as full grown adults,
of like how insane that might have been of how
(29:25):
we acted in that time. But had you not done
any of those things, have you not had the gall
to show up to those parties to be your full self,
Like you would not have gotten into hairspray and had
not taken whatever journey he did to be in a
chorus boy? Yeah, you know, and like you just it's
(29:47):
it's very true, and it's I think you paint such
a like a clear picture of that the meaning of
like you just never ever know and also like being
good to people. It's like you when you're in a
position to like, oh, we all of a sudden need
someone to play this part.
Speaker 3 (30:04):
Yeah you know he's right here.
Speaker 4 (30:06):
Yeah, oh no, I feel like that's like my like
I don't know, like and I wouldn't say gift, but
my like, I feel like I'm always the person who's
like trying, always trying to like you know, and I wait,
I'm sure like that, you know you see it in
like why like you'll like you'll see a movie and
you're like, oh, I can't believe they're working together again.
But I'm always like if I'm doing like a silly
(30:27):
show somewhere, I'm always bringing my friends, Like I'm like,
how do my friends, Like how do we all keep
working together?
Speaker 3 (30:33):
And I always tell like young kids.
Speaker 4 (30:35):
Like work with people your age and have fun with
them and then all you'll all grow together, Like you
can just keep growing together. And like Laura Belle and
me and Carrie like did our like we wrote that
show Mam and Big Girl Now that we like toured
and then we did it off Broadway last year, you know,
and got a Drama Desk nomination for which we're ridiculously
proud of because we didn't even know that was a thing.
I was getting my hair colored and they were like,
(30:56):
we just got nominated for a drama desk.
Speaker 3 (30:58):
I'm like what, cat Like I was so confused. I
would like I didn't even know that we could be
like like.
Speaker 4 (31:04):
I like love doing the show with them because for
my thing, like I just love showing other like performers
and girls, even young girls out there that like And
they always make fun of me because I say this
a lot, But it's like the three of us are
like such shiny pennies, all three of us, right, Like
Laura Bell is such a.
Speaker 3 (31:21):
Diva, and carry Butler is such an icon.
Speaker 4 (31:24):
And then I'm you know, a lunatic, but like the
three of us together, I'm like, but you can. I'm
like showing that, like women can like support and love
each other and work together and have friendships and like
carry them through. And even though like we've all been
up for same roles and one of us gets it
and like for TV, it's crazy Laura and I have
been up for so many of the same roles, and
(31:44):
like for for Broadway, like Carrie's like dumb the reading and.
Speaker 3 (31:47):
Laura's dumb the show, like you know what I mean.
Speaker 4 (31:50):
Like and it's like, but we still are like so
supportive and love each other that I like feel like
it's so important to show that. Like it's not about
like we're not against each other. It's like obviously if
you want me or don't want Laura Bell, like it
has nothing to do with Laura Bell, or if you
want Laura Bell, like if you're hiring Carrie Butler for something,
like I was never right in for yeah you know
(32:12):
what I mean. And you were like, I want a type,
so you're like, here's a type. But I like love
touring with it and like showing young girls in theater,
like and I always talk about it that, like, because
theater is such a it's such a competitive sport in
a way that like tennis is like you're always up
against your best friend. Like you know, my son plays tennis,
so I'm I always think compare it to tennis.
Speaker 2 (32:33):
But it's like that is a great comparison you want.
Speaker 4 (32:36):
You're like, oh my gosh, I want him to win.
But then if he wins, I've got to play, you know.
It's like I want her to I want her to
get that part and death becomes her. But if she
gets that part, you know.
Speaker 3 (32:44):
But like there's a room for everybody, Like there really is.
Speaker 1 (32:47):
And if you understand like the business model side of things, right,
you can support each other on the other side, right,
like tennis, you know how it works. You know, when
you get on you know court, you know, all everything
goes out the window. But like right, right, yeah.
Speaker 2 (33:03):
Today's not your day. Then, like there's going to be
another match, There's going to be another audition, another show.
Speaker 4 (33:07):
There's going to be twenty more Broadway shows next year
exactly that are not going to that are going to
be closed in a week, you know what.
Speaker 3 (33:14):
Exactly?
Speaker 2 (33:15):
Yeah, I mean that takes I think just like maturity
and time working in there. And so I feel like
we talked about it a little bit earlier about you
directing another version of Hairspray, which I want to talk about,
but I also feel like you as a director, because
you have this history of that of working with your friends,
(33:35):
supporting people working with their friends, encouraging that that you
must I feel like you must be like a really
wonderful director for these kids, for the people coming in
to do this. So tell us about this production of
Parispury you're directing.
Speaker 4 (33:46):
Well, I mean I like to I would like, I mean,
I like to think I'm awesome. Now though that I
realize how much it's about choreography and less about direction,
I'm like, oh I'm not nearly doing now. I just
feel like I'm like a line producer because I think
gizing all day long, like.
Speaker 3 (34:01):
I'm like what we need in Facebook?
Speaker 4 (34:04):
Yeah, I'm And also just like like figuring out the
schedule of like if we get this done today, then
we can get that done.
Speaker 3 (34:09):
And who I need and who I don't need.
Speaker 4 (34:11):
Like what I'm really really good at is and I'm
sure you both understand this well, is like never calling
someone in to sit, like I'm very good at like
I would.
Speaker 2 (34:22):
Yes, director, people would rather have to.
Speaker 4 (34:24):
Put somebody in because I should have called them in
them have someone sit there for four hours and be
like what am I doing here?
Speaker 6 (34:30):
You know?
Speaker 4 (34:30):
So like I'm very conscious of my call of my
schedule like that I'm very good at. I'm very good
at in hairspray, particular like being able to like bring
it back to like like I think hairspray. What's most
important about hairspray is like like I know where I've
been that number when motormouth sings that number, I I
believe that all of the pretty colors and all of
(34:53):
you know, the fact girl wanting to dance with the
boy is all just the trojan horse to get to
I know where I've been, right, So like I believe
the entire show is to teach the lesson of segregation
in the sixties and like, holy shit, like I know
where I've been, Like I've got I've come so far,
but we have so far to go. And of course,
in the climate we're in right now, it's like the
story is completely the same, nothing has changed, right, So
(35:16):
I believe that, like in the like Candy Apple of
like Tracy Turnblad with Silly Mom, really the importance of
Hairspray is getting to the story of the set of
segregation and teaching the new audiences through the comedy and
fun learning, right, That's what the story is about. So
I think that a lot of times, a lot of
(35:38):
a lot of companies will skate by that because it's
like hard, or they don't really know what to do,
or we're scared.
Speaker 3 (35:45):
To talk about it.
Speaker 4 (35:46):
And I'm not saying that I'm like leaning into it
any more than we leaned into it, but I'm definitely
not letting the company not know, like this is the
this is the important part of the show. So we
like this is like everything is up in the up
to this part of the show, or like detention when
Tracy and see we'd meet for the turry first time
and dance, and Tracy's literally like, well, why aren't you
(36:07):
can't we dance on the show together?
Speaker 3 (36:09):
And it's she's not trying to change the world.
Speaker 4 (36:11):
She's actually doesn't understand and what's so what I find
and like being able to direct it. It's like remembering
those nuances of Hairspray, like where yes where It's like,
it's not like we're not hitting you over the head
with a story.
Speaker 3 (36:26):
Just trust the words and say the words.
Speaker 4 (36:28):
Because Tracy doesn't mean to change the world until she
like is oh, okay, I'm changing the world because there's
something so much more beautiful about a teenage girl who
doesn't think there's anything to change.
Speaker 3 (36:43):
And then it's like, oh there is. She learns and
then she's like, well, let's fix that.
Speaker 4 (36:47):
Rather than like she's not a suffer jette, she's not
like she really does want to dance.
Speaker 2 (36:53):
She's like, oh, this seems wrong, let's just fix it.
Speaker 3 (36:56):
Like that seems wrong. How do we take that?
Speaker 2 (36:57):
Okay?
Speaker 6 (36:58):
You know?
Speaker 3 (36:58):
Like and I love that n like the naivete.
Speaker 4 (37:02):
Naivity is the word, like whatever that word is for
like a sixteen year old and I have I'm like
my son's now seventeen, and like I see it in
those kids and like that generation where they're like, well,
why don't we just fix it?
Speaker 3 (37:15):
Like why are we? Why aren't we just changing things?
You know what I mean?
Speaker 4 (37:18):
But not like posting a thousand posts and not quotes
after quotes after they're like, well why don't we?
Speaker 3 (37:25):
Why is it like that? You know?
Speaker 4 (37:26):
And I think that there's something like I tried to
go as young as I could when my cast. I
actually in this cast have a fifteen year old who's
playing Ipew, a sixteen year old who's playing Shelley, and
a twelve year old that's playing Little i Nes And
I like love having these kids in a very safe
theatrical environment, getting to work with a little older but
(37:48):
not like everyone's really young, really really young in my cast,
because that's when it's shown me, you know.
Speaker 1 (37:54):
Yeah exactly. I'm curious, Like, because you've been so deeply
embedded in Hairspray for so long as Tracy, how do
you remove yourself from allowing her to play Tracy like
(38:14):
and allowing Lexi to just do what she does right, well,
do best news?
Speaker 4 (38:18):
She Well, I went in like day one and I
was like, well, I'm gonna have to get her a
known on that, because that's not right, you know, Like
literally day one, I was like, well, i mean she
like that's like or like or she'll do a line
reading and I'm like, well, that's not the intention. And
then like I started realizing, I'm like, oh my god,
not realizing, but like letting, like I wasn't giving because
(38:40):
I'm also a person who's like if you come in
and give line readings and know it's day one, day two,
day three, people get scared to try. And I'm like, yeah,
I even keep saying to them, I'm like, I'd rather
you guys try.
Speaker 3 (38:50):
Like crazy big swings.
Speaker 4 (38:52):
Yeah, and then I'll and then then then be scared,
like because yeah, there's nothing worse than a timid actor
or performer, right, So, like I don't get I have
very like I really wait to give notes until every
time I've ever directed, and this in particular and this specifically,
I kind of wait until we're like running the show
unless it's like really like you're really.
Speaker 3 (39:11):
Off, because I don't want to know as.
Speaker 4 (39:14):
An actress, like it's intimidating because then it's now I'm
just performing for the director, and it's like, I don't
even know my lines yet, you know.
Speaker 1 (39:20):
You let me figure it out.
Speaker 3 (39:21):
Yeah yeah, yeah.
Speaker 4 (39:22):
Like and you and usually if you hire the right
I mean, if you hire the you're you're directing, If
you hire the right actors, you're gonna get what you want.
Speaker 3 (39:31):
That being said as being Tracy.
Speaker 4 (39:32):
It's very hard because I'm like my ear it wants
to hear a line like for example, like like like,
oh Link, if if fate makes you throw a ball
at me today, seal it with a kiss, right, And
I did it very like, oh Nate, oh Link, you know,
oh god, if they it makes you throw a bullet
(39:53):
me today, seal it with a kiss.
Speaker 3 (39:54):
Like very dreamy and quiet and to myself. And she's
like for got like super like if they makes you
throw a ball at me today, stealing with the kids.
And I'm like, oh my god, that's totally crazy.
Speaker 4 (40:06):
But then literally i want to say like three days
then I'm like, oh my god, that's hilarious. Like what
she's doing is so funny and like it's a and
her Tracy is going through a different journey than my Tracy,
and she's so like resent in a like I'm again
like I always come at things like from a I
think through everything, like I'm such a planned actress, like
(40:29):
especially in musicals or plays like a TV. You know,
we're just like, oh, we just do it and hope
they got it right. But I like I flipped my
purse the same way every time, Like I'm like, I
like my mom tells me, no, my feet tell me go,
Like I know exactly what I did, you know what
I mean, Like I can do it today, yes, And
she's coming from such a like different place of like
(40:52):
just like like I can't even it's like honesty and
like like she's just so sweet and fun and like
and honestly like a little more like gen Z, you
know what I mean. Like she's just like much more
like like confident. And then sometimes I was like, you know,
I chose I would be like I would choose to
(41:13):
not hear Amber say that, because then I would feel
like I'd have to react to that. So as an actress,
I was like, if I don't hear her, I don't
have to react, and She's like, or I just don't react,
and I was like, yeah, let's try it that way,
like and I'm like, right, because you are in a
different body in a different world, coming from a different place,
and you maybe don't find that as offensive as I'm Marisa,
(41:34):
you know what i mean. Like so many times, like
my like Edna would say something mean to me, and
I'm like, if I hear that and understand that, I
have to respond to that, So I would like choose
to like be looking at plenty and missing it sometimes,
you know, like there were different things and I'm like,
you know what, so as Tracy, it's been like a
very interesting like everybody else, I can like, oh my god,
(41:55):
I'm that's hilarious.
Speaker 3 (41:56):
I've never seen it like that. I love that choice.
Speaker 4 (41:58):
But she's like it took me a couple of days
and now I'm like I'm obsessed with her, like just
nitivity and her like optimism in a different and just
like and she's like, well break like she's like ready
to rumble and like.
Speaker 3 (42:12):
I love it.
Speaker 4 (42:12):
So like it's been really like interesting being able to
be like that's it.
Speaker 3 (42:17):
It's a great choice. I didn't see it that way.
That's a great choice.
Speaker 4 (42:20):
Like good, like good on you, you know what I mean,
Like it's cool, it's so fun.
Speaker 2 (42:24):
Wow. Yeah, it's also like a testament of how good
the show is is that people can come in in
their own bodies and experiences and love these parts in
a very different way and it still works. Yeah.
Speaker 3 (42:36):
Yeah, yeah.
Speaker 4 (42:37):
I mean it's so funny because I'm like, yeah, there's
like eighty thousand traces now the one thing that I
wanted to like make sure there was only one me.
Now I'm like, oh my god, this could be done
by like it's so beautiful. It's like, so there's so many.
And I remember doing the show and thinking, oh my god,
one day they're going to do this in high school
and like like when I was in high school, like
I wasn't getting Rizzo. I was getting like I played
(42:59):
jan and high school too, you.
Speaker 3 (43:00):
Know what I mean.
Speaker 4 (43:01):
Like, and I was like I should have been Rizzo,
like I was ten times I was. I was like
like not to be, like I was clearly a Broadway star,
Like why was I jammed?
Speaker 3 (43:11):
Like ye me Rizzo?
Speaker 7 (43:12):
You know?
Speaker 3 (43:12):
But I wasn't Rizzo because of.
Speaker 4 (43:14):
Like my body size, you know. And I remember thinking like, oh,
this is so cool. There's going to be a show
that like that girl who never gets.
Speaker 3 (43:21):
To do it gets to do it.
Speaker 4 (43:23):
And then here I am and I'm like, Oh, it's happening,
you know, like live in.
Speaker 3 (43:28):
Color, you know what I mean, It's cool.
Speaker 1 (43:30):
Yeah, this is your directorial debut, correct for like a
massive theater like this with this many people. Yeah, I've
directed a lot, like I've been directing like smaller shows
like six.
Speaker 4 (43:43):
People, seven people, fun stuff at the rock. Well, everybody's
what I mean. I did John Hill's one man Show,
Ryan o Connor's one man Show.
Speaker 3 (43:50):
I did Ali.
Speaker 4 (43:51):
Miller's one you know when she did like I've done
a lot of that, and then I directed. My first
feature was in January, and that was like my I
was like, oh, this is what I mean.
Speaker 3 (44:00):
The food's better, it's better.
Speaker 4 (44:07):
So so like that's been really fun, but this is
like it was I when they asked me to do this,
I was like, well, if I ever want to direct
in big theaters, in proper houses, with big companies with yeah,
you know, with with you know, equity actors, I'm like,
this might be my this is my way in like
you don't get to do it until you do it.
(44:27):
And I'm like, and me doing hairspray is exciting and fun.
But then like I've already been like what what are
we going to do next year? Like like what show
can I do next year? What's on your roster next year?
So that it's like to do something that's not hairspray
but I love doing. Or then I'm also like or
do I just like Paul, every theater in America be
like put up hairspray in the you know what I mean?
Speaker 3 (44:48):
Like I'm like, it's like the best move ever.
Speaker 4 (44:51):
Was like like that's so much pressent, Like do you
want me to come do hairspray at your theater? And
now I have like a choreographer and a you know,
a music director. Literally take this. I can tell you
where to get the sets and the costumes. Will just
put this up and everything right Like that seems like
an idea, send an assistance. Start it off, coming, yeah,
coming with the baby, be ready to go?
Speaker 2 (45:13):
Yeah, figured out?
Speaker 3 (45:17):
Thanks? And you like to produce that, you guys? Start?
Can you make.
Speaker 2 (45:24):
Anything?
Speaker 3 (45:25):
I'll put it in every theater, in every dinner.
Speaker 1 (45:28):
I got it. I've got a thing for you.
Speaker 3 (45:30):
I've got it, and every town I'll bring it ed.
Speaker 1 (45:37):
So funny, it's so funny.
Speaker 4 (45:40):
Do you to have a Tracy I'll be the judge
of that.
Speaker 2 (45:46):
I mean you opened soon. How how are you feeling
you've been October tenth.
Speaker 3 (45:50):
I'm so exhausted. I've never been more tired in my life.
Speaker 4 (45:52):
And I'm literally like I'm having anxiety every day about
like are they going to get it? But I'm sure
that that that's what like every direct feels I have learned,
So like I'm going to I'm going to New York
to do bat Boy because i'll uh with Alex and
carry Butler.
Speaker 3 (46:08):
But so literally, I like was reading this.
Speaker 4 (46:10):
I had my day off of Monday yesterday or whatever
day that was a couple of days ago, and I
was like, I'm going to read this script because I'm like,
oh my god, I'm leaving in like four weeks to
do this and I haven't read the script really. So
I read it and I was like, God, I wonder
if he wants me to do it this way or
this way? And I was like, maybe I'll call him.
And then I was like, because I'm like now doing
this with the hairspray, I'm like, Alex Timber does not
want me to call him and ask him what he
(46:31):
was I was like.
Speaker 3 (46:32):
Because everyone with me is like should I do this
or do this? And I'm like, oh my god, just
make a choice. I don't care.
Speaker 4 (46:37):
I will tell you the best lesson I have learned
as an actress. I was like, I am going to
and I'm just directing now in the theater. I was like,
I am not going to call Alex Timber and ask
him if he wants me to do it with a
Southern accent or not.
Speaker 3 (46:50):
I'm gonna just show up and make a choice and
let him tell me no. I was so that was
that same.
Speaker 4 (46:56):
So don't call and ask them.
Speaker 3 (47:01):
That just will scare them.
Speaker 1 (47:02):
Just do it. Just do it four weeks in advance,
like I'm preparing. I'm prepared. So you're very busy and
we're so appreciative. I have one more question for you.
We ask everybody who comes on the show, what is
the feeling that Glee leaves you with? Since you're not
E didn't Dukeallee, I'm gonna ask you what hair spray
leaves you with? What is the feeling that hairspray leaves
(47:23):
you with?
Speaker 4 (47:24):
Oh my gosh, with hope and joy and just oh
my gosh. Like well, for me, it's like it gave
me my life, so it like leaves me with just
like such gratitude and like I'm so so honored to
be a part of something.
Speaker 3 (47:40):
That, like I feel like I just love it so much.
Speaker 4 (47:42):
But like, let me tell you, Lee left me with
a lot of stuff too. Let's be clear, Like Glee
left me with like how was I never on Glee?
And was literally literally but also like I loved Blease
so much and I was so happy that it happened.
Speaker 3 (47:56):
It's like how Hairspray happened? Like I was so happy
Glee was happening.
Speaker 4 (47:59):
So I can answer that one too, Like I like
I loved Glee. I thought it like changed such like
a generation, Like I like, I think that like so
many people got into musical theater because of Glee, like
so many people, like you know, like it changed so
many many people's lives and careers that I just like
I always like had such a song, like I just
love Glee. So I think they both leave me with
such joy. I mean Glee is like how was I
(48:21):
never on?
Speaker 2 (48:22):
That?
Speaker 3 (48:22):
That makes no sense?
Speaker 1 (48:23):
Really is actually very confusing, Yeah, it is very confusing.
Speaker 2 (48:26):
A Mat Yeah, yeah, you're like man, I created you.
Speaker 4 (48:33):
No, You're just hot, Matt, you were just hot, Like
what if he like, what if he didn't have his
curly hair at the time, Like, I might not have
thought he was as hot, and then who knows.
Speaker 3 (48:40):
What would have happened not even cut his hair.
Speaker 2 (48:46):
Oh my gosh, that hair really has gotten him far.
Speaker 1 (48:49):
No, he really has good hair privilege.
Speaker 4 (48:51):
And then when he like and then when he like
cut it short, it was like also hot and like yeah,
you know what I mean, like but no his hair.
Speaker 1 (48:58):
Yeah. Anyways, mad Well, we're looking out and we're thinking
about you and you guys and telling you to break
all the legs for your exciting Thank you, have the
best time. Congratulations, it's going.
Speaker 3 (49:11):
To be great. Thank you guys so much.
Speaker 1 (49:13):
Thank you for coming on the show and gabbing.
Speaker 2 (49:14):
With Thank you. I love her. Oh my god. Go
to Ticketmaster, go get your tickets to see Marissa's production
of Hairspray. If you're in California, if you're in La.
It starts October tenth and thousand oaks. It's going to
be incredible. I'm sad I'm missing it, but jenlemen, you
(49:37):
should go see it.
Speaker 1 (49:38):
No, I have to. I have to go see it.
Speaker 2 (49:41):
It's missing.
Speaker 1 (49:42):
And she's so wonderful and so everybody go buy your tickets.
Speaker 2 (49:46):
And if you're in entertainment, you're you're trying to be
an actor or writer, producer, director, anything. A lot of
lessons from her in this episode, Yeah, a lot of
a lot of very good lessons in Yeah.
Speaker 1 (50:01):
Thanks Marsa for coming on the show and joining us.
We hope you guys enjoyed the conversation and that's what really.
Speaker 2 (50:07):
Miss Thanks for listening and follow us on Instagram at
and that's what you really miss pod. Make sure to
write us a review and leave us five stars. See
you next time.
Host
Jenna Ushkowitz
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