Eugene O'Neill's Masterpiece: Why 'Long Day's Journey' Still Resonates

Join us for a delightful conversation with William Roth, the artistic director of the St. Louis Actors' Studio, as he shares his journey through the world of theater and the upcoming production of Eugene O'Neill's 'Long Day's Journey into Night'. Roth begins by recounting how his theater survived the pandemic, creatively adapting to keep their audience engaged with innovative productions and virtual experiences. His stories add a nice sprinkle of humor and humility, showcasing the resilience of the theater community during tough times.

As the discussion deepens, Roth dives into the heart of O'Neill's work, discussing why 'Long Day's Journey into Night' is not just a play but a profound reflection on family dynamics and addiction. He shares his excitement about the cast and the collaborative efforts that bring the characters to life, emphasizing the emotional truths embedded in the narrative. The conversation flows seamlessly as the hosts and Roth explore the nuances of acting and directing, touching on the importance of trust and chemistry among the cast members.

The episode wraps up with essential details about the upcoming production, encouraging listeners to experience this powerful play firsthand. Roth's passion for theater is infectious, and his insights into the creative process make this episode a must-listen for anyone interested in the performing arts. With a perfect blend of light-hearted humor and deep reflections on the human experience, this episode will leave audiences feeling inspired to support local theater.

[00:00] Introduction and Opening Remarks

[00:31] Welcome to St. Louis in Tune

[01:15] Return to Civility: Walking Pace

[02:29] Interview with William Roth: Background and Career

[03:09] Adapting During the Pandemic

[05:05] Founding the St. Louis Actors Studio

[06:56] Austin Pendleton and Master Classes

[08:55] Long Day's Journey into Night: Production Insights

[09:25] William Roth's Theater Journey

[18:45] Challenges and Rewards of Live Theater

[31:20] Upcoming Events and Final Thoughts

[34:30] Dred Scott Heritage Foundation's Commemorative Stamp Campaign

[35:32] Behind the Scenes with Arnold and Mark

[36:33] Interview with William Roth

[38:49] Word of the Day: Fugatious

[39:58] National Days and Fun Facts

[45:28] Super Bowl and Sports Talk

[49:25] Humorous Anecdotes and Jokes

[51:38] Conclusion and Farewell

Takeaways:

• William Roth, the founder of St. Louis Actors Studio, emphasizes the importance of adapting to challenges like the pandemic, showcasing creativity in keeping theater alive.
• The podcast dives into Eugene O'Neill's play 'Long Day's Journey into Night', highlighting its timeless themes of family struggle and addiction.
• William shares his journey from actor to artistic director, revealing how the St. Louis Actors Studio came to be and its mission to support local talent.
• The discussion touches on the unique process of rehearsal with director Austin Pendleton, focusing on a fluid and organic approach to acting.
• Listeners are encouraged to experience live theater at the Gaslight Theater, where intimacy with the actors enhances the emotional impact of the performances.

A key takeaway is the idea that theater reflects real-life struggles, making it relatable and essential for building empathy among audiences.

• St. Louis Actors Studio
• William Roth Website
• Facebook - Gaslight Theater
• x.com St Louis Actors' Studio

This is Season 8! For more episodes, go to

Episode Transcript

(00:00):
None of us can help the thingslife has done to us.
They're done before yourealize it.
And once they're done, theymake you do other things until at
last everything comes betweenyou and what you'd like to be and
you've lost your true self forever.
That's a line from a EugeneO'Neill play.
We're going to talk more aboutthat on St.
Luis in June.

(00:31):
Well, welcome to St.
Louis in Tune.
And thank you for joining usfor fresh perspectives on issues
and events with experts,community leaders and everyday people
who make a difference inshaping our society and world.
I'm Arnold Stricker along withco host Mark Langston.
Mark, greetings and salutations.
Wonderful times of happinessto you.
Salutations.

(00:52):
There's the word.
Howdy.
Good to be here.
Good to be here.
It's good to be here.
Also good to be anywhere,isn't it?
Yeah.
Folks, we're glad that youjoined us today.
You can listen to [e-mail] please help us
continue to grow by leaving areview on our website, stlntune.com,
apple Podcasts, or yourpreferred podcast platform.

(01:14):
Our return to civility is forthose people who really like to walk.
And a lot of walkers outthere, Mark.
And I'm not talking about thepeople on the treadmills either.
I'm talking about people whoactually get outside and they're
either walking their dog orthey're walking themselves.
Exercise, but it's moderateyour walking pace to the people that
you're with.
Except that ended with a preposition.

(01:36):
Moderate your walking pace tothe people you're walking with next
to you.
If you stride ahead, you'rejust going to have to turn around
and wait anyway.
So if you're the slowpoke,what do you.
How do you slow them down?
Tie a rope to them.
I'm always like, hey, hold on,wait up for me.
And then they feel really badabout it.

(01:57):
But they.
That's how.
Yeah, I'm a slow walker.
You can tell them that this isyour pace that your doctor has told
you to walk at.
That's it.
That's it.
I know.
Yeah.
I find myself lagging behindquite a bit.
Finally, I just go, oh, Idon't care.
Or you could just drop off andfall down onto the grass and say,
that's because you were makingme walk too fast.
I keep trying.

(02:17):
I know.
And I try to keep up.
But the older you get, theharder it is.
It is.
But it's good for you.
So, folks, get out there, butpace yourself with the person that
you're walking next to.
That would be very boring.
Beneficial.
Our guest today is William Roth.
He's founder and artisticdirector of the St.
Louis Actors Studio.
His career began back at theTheater Guild of Webster Groves.

(02:38):
He did a stint in the Marines,directed and acted in a festival
at the University of Missouri, St.
Louis, spent some time at theOrthwine Theater, and for the last
20 years, has appeared incountless Shakespeare productions,
many other stage productions.
In addition to founding the St.
Louis Actors Studio, hedeveloped the Gaslight Theater in

(02:59):
historic Gaslight Squ.
You're a Gaslight kind of guy, William.
Welcome back to St.
Louis and Tune.
Because you were here duringthe pandemic.
Thank you.
Things are a little betterthese days.
They're much better.
Yeah.
As we were talking a littlebit before the show, you did a really
great job of kind ofcontinuing the interest in theater
during the pandemic becausepeople couldn't get out.

(03:20):
Yeah.
We needed to do something tokeep our patrons engaged.
And luckily, we have aplaywright that works with us who
also did some TV that he owned.
And so he gave us Neil Abute,I'm speaking of.
And he had in Billy and abunch of other TV that he had done,
and he gave us the episodes tosend out to our patrons every week
to keep them engaged.
And we did do.
There wasn't a whole lot ofZoom theater that I liked because

(03:43):
it tried to pretend like itwas on stage.
But we found a John Burroughsgrad who had written a play that
actually takes place on Zoom,and so we produced that also, and
that worked out great.
Oh, wow.
And many.
We were talking also manyrestaurants and just businesses didn't
adapt during that time.
And I think many have sufferedthe consequences of not being able

(04:05):
to morph into keeping theiraudience or keeping their patrons
with them.
Yeah.
And you guys seem to getcreative with that.
And if that had not happened,what do you think you would have
been doing?
You mean our ability to adapt with.
The pandemic, video technology and.
Oh, I don't know.
I think a lot of us would havestopped or started.

(04:28):
Started from scratch, really,if you didn't have a way to keep
people eng.
And more importantly,continuing to subscribe to something.
There was no financial streamcoming through, so getting them to
donate yearly as they wouldwhen they came to the place, it would
have been starting over.
And the hardest thing was justpeople's routine of going to the

(04:48):
theater.
Right.
There was so much streamingthat suddenly became available that
they're like why would I leavemy home?
So that's was the toughestpart was, hey, go out now, come here.
Nothing like live theaterthough, right?
Nothing at all like liveradio, right?
Exactly.
Nothing like it really.
Talk a little bit about the St.
Louis Actors Studio.

(05:09):
Why did you found it?
What's involved?
How do people become a part of it?
Give us a little rundown on that.
I've been an actor for a long time.
I also run a small marketingfirm and that's really how it started.
I was sharing some officespace on the hill.
I was the last guy in.
The other guys in the buildingwere growing and they needed my space.
So I kind of got the boot.
Friendly.
It was a friendly departureand I needed office space.

(05:32):
And so I found these buildingson boil as I looked at offices around
town and were like, that's alot of money for 1200 square feet.
And then these poor littlebuildings on Boyle had been sitting
there since the 50s boarded up.
And I thought to myself, maybeI could buy those and get some tax
credits and who knows what mymortgage might be.
And so anyway, long storyshort, I bought them both and rehabbed

(05:53):
them, put my marketing firm inone, rented that one out, and then
thought about it, what if Ibuilt a theater and see who might
want need theater space andthen I can't have someone else use
this theater with my own theater.
So I quickly decided, hey,maybe I'll start a theater company.
And the nice thing about thatwas that during rehab we had a year
to introduce the community toit and lots of tours as we were doing

(06:16):
the rehab and turning it intoa theater.
And a high school buddy and Istarted the West End Grill and Pub,
this restaurant and we hadthis culture cuisine cocktail idea
between the commercial artsand the performing arts and the culinary
arts.
So I started the Actors StudioTheater for about, I mean it's a
small stage, 18 by 18 foot.
So it's not about lavishcostumes, it's not about big sets,

(06:36):
it's about actors.
Intimate setting actors andactors and acting.
And that's how it all got started.
It wasn't really a grand plan.
I had no interest or wasn'tlooking to start my own theater company.
Just happened organically.
So what do you do during offshow times?
Did you get actors together?
Do you do classes?
Because I know that you'redoing, you're having.

(06:58):
Austin Pendleton is actually adirector, actor, playwright, is in
for the, the show that we'retalking about.
He's directing the current show.
And those are the sorts ofthings that we do.
We bring people like Austininto town to do master classes.
We try to.
We teamed up with Talent plusto offer and others to offer the
master classes.
He.
While he was in town for thelast five weeks, every Saturday,

(07:18):
he held master classes foractors at the Gaslight.
And so people signed up for that.
Wow.
So we try to engage the otherartists that are the opportunities
that you name it, actors anddesigners and playwrights and movie
makers might not have independently.
So how do you bring him in?
He's.
He was supposed to be on theshow, Mark, and it was.
He's getting up there in ageand it's.

(07:40):
As for.
Even for us, it's a littledifficult to get around the older
we get.
And because he's.
And he's just here for theshow to direct and do some.
Some kind of discussions withsome of the actors.
But it's like it.
This just didn't work out inhis schedule.
How'd you get him in here?
This.
I've known him for 11 years.
Really?
Yeah.
And he's a pretty accessibleguy in New.
As most people are in New Yorkand those that are interested in

(08:02):
producing art and notnecessarily showing off their personal
fame.
He is a very generous fellow.
And so I met him at his.
He teaches at HP Studios, verystoried place in New York and has
been there forever.
He's a.
He's a member at Steppenwolfand has been for years in Chicago.
And he was directing EthanHawke in Von off at the Classic Stage

(08:23):
Company, which is where wefirst got together after a class
that I took of his.
And I talked to him about afew things and he was like, hey,
I'd love to come and direct ordo something.
And so it took a while.
I had him in twice for masterclasses when he.
And it was easiest when he wasworking at Steppenwolf because then
on their Equity Day office onMondays, I could have him fly him
in Sunday night, teach allday, send him back to Chicago.
So that's how two of hisprevious appearance happened.

(08:45):
And I tried to get on hisschedule for years.
He's busy.
And I finally found he's neverdirected O'Neill before.
Really?
Yeah.
Which is amazing because he'sdone just about everything.
We're going to talk about thatin a little detail.
That performance is actuallygoing to take place, folks, February
7th through the 23rd at theGaslight Theater.
It is A Long Day's Journeyinto the night by Eugene O'Neill

(09:08):
and it's directed by AustinPendleton, stars William Roth Megan
Baker, Joel Moses, DustinPetrillo and Bridget Basa.
And you can [e-mail], right?
That's correct.
That's easy, yeah.
Now, I want to go back.
What was your introduction tobeing involved in the theater?

(09:29):
That's.
I went to a small privateschool in Sunset Hills.
I'd never seen a play before.
And in 1976, I went to Londonon a school trip and was immersed
in theater.
I'd never seen liveperformances before.
Richard Burton in Equus, RexHarrison in Blythe Spirit Just on
and on, ballet and opera.
And I remember sitting at theRoyal Haymarket for the first show,

(09:52):
a Robert Morley show comedy.
And it was like.
When the lights came, Icouldn't believe it.
I was just like, what the heckis this?
Why haven't I known about that?
And I was only 14 at the time,but it did open my eyes to something
that I thought was pretty incredible.
And it took me a while.
I saw plays and was a patronfrom kind of that time on, and the
school focused on Shakespeareand plays and theater.

(10:13):
So we saw a lot of the theaterwhile I was there.
I really didn't get into ituntil I got out of the Marine Corps
and back in St.
Louis and just started.
I was a business major inUmpsil, but my friends were all theater
majors, and they always needsomebody to be in something.
That's how it started.
You couldn't get out of it,could you?
No.
I did have a brief.
I used to ride horsescompetitively when I was young.
Really?
There was a.
Article in the.
In the.

(10:33):
In a horse magazine thatFrancis Ford Coppola was looking
for a young rider for Black Beauty.
And as a joke, my family sentmy name in it.
Actually, long story short,progressed almost to the point where
I was cast where my headmasterwas going to leave school and educate
me while I was on, but he wasin the Middle East.
Found the young man who had.
Playing the lead, but.

(10:54):
So I almost did it early on,and then nothing happened again.
You still ride?
I don't know.
It's a Western.
English.
No.
English?
Yeah.
English.
Hunter jumper.
Pony hunters.
Oh, wow.
Yeah.
That's quite a deal.
Yeah.
Anyway, that was a long timeago, but my brush with.
With fame came early and quickly.
Here you hire your knees.
Because I play a lot of hockey.

(11:14):
They're not very good, but.
It'S a horse thing.
Your knees really get it.
Yeah, they do.
So why this play?
Did you choose this?
Did a group of you choose this?
I have artistic associates.
Anna Maria Pileggi and JohnPearson help me every year.
And previous years, Milton'sOath and others were.

(11:34):
Were with me.
But I kind.
I.
I mean, we picked this playbecause sooner or later, you got
to do O'Neill.
Personally, I was hid from himbecause I assumed it was arcane.
I assumed it was tough, the language.
And then I saw Jessica Lange.
I just happened to be in NewYork at that.
I go to New York to seetheater and understand what's out
there for us to produce, and Isaw Jessica Lange do it in New York,

(11:57):
and I couldn't believe howfresh and young or, excuse me, how
modern the language was andhow amazing that play is.
Just, you know, you see a lotof plays and a lot of time, it's
like TV shows.
You're like, oh, that was good.
And then you see ones whereyou're just like, holy moly.
Right?
That was something frombeginning to end.

(12:17):
It's a longer play, too, thatjust flies by.
And that's another thing, too,is just, can I handle that much time
in the theater?
And then it's like the timegoes by and the lights come up, and.
You'Re just like, where'd thetime go?
And this is one of those plays.
And so we had to get to himsooner or later, and this was it.
And Austin was here to direct it.
And this cast is incredible.
And the story is.

(12:39):
It's his grand opus.
It's a story that he wroteabout his family, unfortunately.
His family.
It's one that he presented tohis wife on our anniversary and asked
her to lock it up and not doanything with it until after his
death for 25 years.
Yeah.
Which she didn't do, luckily.
Lucky for all of us, when hepassed away, she understood its importance
and got it published immediately.

(12:59):
So why is this play.
So why does it grab people?
Because it's really.
I don't want to say it's dark, but.
And maybe it just reveals humanity.
And every family has some ofthese kinds of scars and open wounds
in it.
Why does it vibrate with people?
It vibrates in a bunch ofdifferent ways, I think.
I think it vibrates for thosethat understand at its very core

(13:21):
what's going on, that livewith addicts or are codependent or
have family issues that.
That just build and ebb andflow and you just go around, aren't
able to quite get out of thecycle of.
I think you really hurt theones you love.
Can be that for a lot ofpeople, but it also, I think, for
those that aren't alcoholics,or drug addicts or dependent on anything.

(13:45):
You understand it better fromthis story because it's so extreme.
And I think it helps buildempathy towards those that, you know,
have these issues.
And, and really it's like thisplay written in the 40s that takes
place at the turn of the century.
You understand that ourstruggle is the same and it hasn't
changed.
And these human dependenciesand codependencies have been there

(14:08):
since the beginning of time.
And the more we understandthem, the better we are, I think.
Yeah.
This is Arnold Stricker withMark Langston of St.
Louis in Tune.
We're talking to William Roth.
He's founder and artisticDirector of the St.
Louis Actors Studio and he'shere to talk about the upcoming Eugene
O'Neill play Long Day'sJourney into the Night, which will
take place February 7ththrough the 23rd at the Gaslight

(14:30):
Theater.
Tickets are available atTicketmaster.com Ticketmaster.com
I always wanted to sayEventbrite but Ticketmaster.
Ticketmaster folks.
Ticketmaster.
Or at the box office an hour.
Before and you have someinteresting things going on along
with that.
The shows are at 8 o'clock onFriday and Saturday and Thursday
and Sunday matinee at 3pm youhave something coming up on February

(14:53):
7th this Friday with thedirector, cast and crew.
Yes.
If you attend opening nightand we Hope everyone in St.
Louis does, although we onlyhave 97 seats but we're having a
reception afterwards and soyou can meet the cast and crew next
door at the Black MountainWinehouse and, and hang out with
us and let us know what youthink and meet Austin and talk about

(15:14):
the Muppet movie or any of the200 plus films he's been in.
Short Circuit and what's Up Doc?
And it's his the list goes onand on.
It's something else he.
I was looking at.
Yeah.
I was looking up his littlebio and wow.
Looking at all the movies hewas in.
It's man.
Now when you there's been alot of revivals of this play on Broadway,

(15:37):
it seems like I was looking atdoes this take place in a 20 year
cycle, 40 year cycle or whatever.
And there's been a couplemovies I think that have been made
about this.
When you're prepping for this,do you go view any of those, the
movies.
Did you see some of these whenit was obviously you saw the Jessica
Lange when she was on Broadway?
I try not to generally.

(15:58):
And I mean everything's,that's really what the, what makes
the acting experience so robust.
For us is that thosediscoveries you make in.
Hopefully, if you have a longenough rehearsal process in rehearsals
with the director and theother cast members, so you don't
really need that unless youfeel some sort of deficit or there's
a moment that you can't quitefigure out.
You might look towards otherfolks to see what they did.

(16:20):
But I don't know that itserves you very well ever to see
how other people do it,because if you have a strong enough
ego, you're like, I'm going todo it the way I want to do it, or
the way we decide it should be done.
And how open has he been to.
I think I'm going to answer myown question here, but I know some
directors are like, you got todo it this way, you got to do it
my way.
Is he like, okay, you feelthat's the way to do that?

(16:41):
Go ahead.
Because that makes sense to you.
Yeah.
And to the extreme, to thepoint where I really hadn't experienced
that sort of director before.
He has came in with a definiteidea on how he wanted the set, on
how he wanted the look andfeel, because it's very minimalistic.
You'll find it's a very simpleset, which works great in the gaslight.
But unlike a lot of directorsthat will do moment to moment, you'll

(17:03):
do a couple pages.
Go back.
He likes to, as he calls it,it's jazz.
Here's what I think yourcharacters are.
Here's where I think theenvironment is.
Do your thing and I'll correctyou if I think there's issues.
And if I'm not giving you thefeedback that you need, then come
to me and I'll give you the feedback.
As opposed to, stop, start,stop, start.

(17:24):
Here, do try this, try that.
So it was a very organic process.
And we did runs from day one,and we just continued to do ones.
We didn't do Act 1, Scene 1,10 times or whatever gets to be very
fluid then.
Yeah, exactly.
And like he said, it's, thisis jazz, this show, and do what you
feel, and I'll rein it in ifit's an issue.
So you said, that's a littledifferent than what you've been used

(17:45):
to.
Most directors are, hey, we'regoing to do act one and we'll hash
that out.
Then we'll do act two and hashthat out.
Yeah, they do French scenes,so they work.
And it's.
Organizationally, we have asmall cast, so this didn't.
But sometimes with biggershows, it's.
You don't want to call.
If you're doing runs andyou've got a Shakespeare show with
20 characters and you'recalling everybody every day.
And you certainly, early on,may not get to the end of Henry iv,

(18:06):
Part one, although this show'slong, too.
But so, yeah, so it's.
Oh, I'm called today becausewe're doing this scene, and.
And you do it to set the sceneand learn the blocking.
So really, what's different isa lot of times you learn your lines
in blocking because he walksover to the window, looks out, he
asks you a question, youanswer it.
So that all works into your memory.
Work on what you say.

(18:27):
Now, you can't depend onnecessarily where the actor's gonna
be on stage to prompt you.
You've got to really be payingattention, and it really leads you
to be, like, listening andanswering and really doing, I think,
what the job is of an actor,and that's listening to everyone
on stage and what's going on,as opposed to going, I move here.
I say this, I do that.
Yes.
Speaking about that, I want topick that apart, Wayne, because how

(18:48):
you, as an actor dissect apart.
Because I've seen.
I haven't seen.
I've read where some people.
I'm going to read this.
I've read the script 200 times.
I know the entire script.
I know my other people.
I know other people's lines.
And just like you said, okay,I'm using that cue.
They're going off to the window.
So they ask that question.
I give this answer versus youlose any kind of spontaneity or any

(19:11):
kind of.
As I've evolved into thischaracter, I know this character
would react this way ratherthan this way.
How do you prepare yourself,and how do you encourage others to
prepare?
When you just get the scriptand say, okay, our production is
like, how many months away?
Know yourself, first of all.
And I know that I'm now 61,and it takes me a lot longer to memorize

(19:33):
than it did.
There was a time when I wasyoung, much younger, I could do Shakespeare
show and learn it in rehearsaland not be a drag on the rest of
the cast.
Know it when I needed to know it.
Now I know that it takes much,much longer.
So the first thing I've got todo is just learn my lines and do
it way in advance and get outof the way.
Not know that rehearsal is notthe place to learn them for me, because

(19:55):
it gets in the way of all ofother valuable things that you need
to know.
If you're like constantlylooking at your script or calling
for line or whatever.
But yeah, that, that sort of work.
Prior to understanding I'm notan alcoholic.
James Tyrone Sr.
Is.
I've certainly known a few buthaven't lived in their skin.
So understanding thatespecially an unabashed, unforgiving

(20:16):
one who is not a drunk.
And I've never missed a performance.
And the things he says whenhe's confronted with his alcoholism,
those sorts of things.
You've got to figure out whatthe motivation is behind that and
what it is that these highfunctioning alcoholics.
So what If I drink 10 bottlesa day, I can drive and I can do this
and I can do my job.
And so you study who you gotto figure out who your model is that

(20:40):
you're gonna.
And it could be very well.
And there's so much of himthat I do understand and have lived
through that I was just like.
As you read it, you do need toknow every moment, everything like
the back of your hand.
So reading the script over andover and over is helpful so that
you do know exactly what'sgoing on at all times so that he
can adapt and understand wherethat none of that gets in the way.

(21:02):
You can be ready for what therehearsals and performances give
you.
Do you as an actor sometimesbecause you know some of those other
lines, if a line is missed, doyou help that or intercede or give
them the.
That's the beauty of live theater.
I don't know how many times agood cast that all know these things
that we just discussed.

(21:22):
I hate to admit this, but lastnight as I was going through the
play I felt as though.
And I had.
And actually it was a simpleaction of dealing cards that I did
too early because my charactersays something about are you gonna
stop talking or will you deal?
That led us to miss a couplelines of dialogue that as the play
was progressing my mind waslike what information had I.

(21:44):
Because I messed that up.
Is there anything that we didthat the audience needs to know?
And so I did double back andadd there wasn't.
But just to be sure I doubledback, added a few words that weren't
oneills so that I could get toa couple lines that I had missed
in order just to make myselfand the actor who was wide eyed.

(22:05):
What are you doing?
Yeah, but they do.
That's the beauty of live theater.
Everybody understands and thatis why you need to understand every
moment and the story you'retelling and what they're doing and
understand that when somethinggoes wrong what went wrong, where
and what's been missed and isit important?
And can you move on?
And all these things happen inyour brain while you're continuing
to say the things that, thatyou've learned.

(22:27):
And it's really an amazing thing.
And it must be a real trustbetween the actors on stage.
How is that developed by youguys spending time together?
It's just not on stage.
You have to have some kind ofrelationship offstage.
With us, it begins with casting.
We do Dustin Petrillo I'dnever been with before, who plays

(22:47):
Edmund?
The youngest.
My youngest son.
But his reputation precededhim from the things that he had been
doing.
And so we knew that we wantedto see if he could, if he was available.
He was.
And Joel I had worked withbefore, and Megan as well.
I've known Megan for a long time.
So that trust was all there.
I knew those guys.
And he just, you're not in this.
We're not in it for the money.

(23:07):
So I think where you would runinto trouble like that by hiring
is, are they young?
Do they have no experience?
So then maybe they wouldn'tunderstand, haven't learned that
yet, or are they some sort ofrich person?
And none of us are that.
So it's not, hey, this is justa job for me.
They understand the gig andwork hard and come prepared.
That's interesting.
We're going to come back, takea little break here.

(23:27):
We've been talking to William Roth.
He's the founder and artisticdirector of St.
Louis Actors Studio.
We've been talking about theperformance that's going to take
place February 7th through the23rd at the Gaslight Theater.
That's Long Day's Journey intothe night by Eugene O'Neill.
We'll talk more about thatafter our break.
This is Arnold Stricker withMark Langston of St.
Louis in Tune.

(23:52):
This is Arnold Stricker of St.
Louis in Tune on behalf of theDred Scott Heritage Foundation.
In 1857, the Dred Scottdecision was a major legal event
and catalyst that contributedto the Civil War.
The decision declared thatDred Scott could not be free because
he was not a citizen.
The 14th Amendment, alsocalled the Dred Scott Amendment,
granted citizenship to allborn or naturalized here in our country

(24:14):
and was intended to overturnthe US Supreme Court decision on
July 9, 1860.
The Dred Scott Heritagefoundation is requesting a commemorative
stamp to be issued from the USPostal Service to recognize and remember
the heritage of this amendmentby issuing a stamp with the likeness
of the man Dred Scott.
But we need your support andthe support of thousands of people
who would like to see this happen.

(24:35):
To achieve this goal, we askyou to download, sign and share the
one page petition with others.
To find the petition, pleasego to dredscottlives.org and click
on the Dred Scott petitiondrive on the right side of the page.
On behalf of the Dred ScottHeritage foundation, this has been
Arnold Stricker of St.
Louis Intune.
The United States has a strongtradition of welcoming newcomers

(24:56):
and refugees.
The welcome Corps is a newservice opportunity for Americans
inspired to welcome thoseseeking freedom and safety and in
turn help strengthen their own communities.
Welcome Corps is a publicprivate partnership that is inspired
by what Americans represent toso many around the world.
A beacon of hope and refuge.
All it takes is a helping hand.
Are you ready to learn more,contact the International Institute

(25:19):
of St.
Louis at infoistl.org or call 314-773-9090.
That's infoiistl.org or call314 203-9090.

(25:47):
I want to welcome you back to St.
Louis in Tune.
We're talking to William Roth,founder and artistic director of
the St.
Louis Actors Studio.
I'm Arnold Stricker along withMark Langston.
I want to remind you folks youcan get your tickets at Ticketmaster
or at the box office one hourbefore show.
That show is Eugene O'Neilland it is the.
Gosh, my brain is just notworking today.

(26:10):
Long day's journey into the night.
Yeah, it's a long day'sjourney into my night venue.
97 seats in the whole place.
Is that.
Yeah, the gas light is.
It was a torn down buildingthat I found that was just a beautiful
architecture by a British bornarchitect, a.m.
baker in the turn of the century.
And when I took it over, ithad no roof and no one had been in

(26:30):
it since the 50s.
It just had.
But everybody drove by it.
Boyle is like the busiest street.
Great.
And so we slowly made thisstorefront proscenium.
It's a kind of a.
Not just a storefront theater,but anyways, it just turned into
this acoustically beautifulintimate space that is really.
It's a great venue.
Oh, yeah.
97 seats is.
But it's amazing.
Yeah.

(26:50):
The right number.
You go see big shows and it'slike after the fourth row.
Yeah, where's my opera class?
Right.
Yeah.
So we're all about small theaters.
Pretty neat.
Yeah, you're right there.
And then it used to be at thegas light or not at the.
At the Pub, West End Girl.
West End Grill.
You can just go right thereand get something to eat.
Yep.
And that's the same thing withthe Black Mountain Winehouse.
That's there now.
That's where the act break inthe bathrooms and our reception,

(27:12):
everything.
You go right through thedouble doors into their space.
Yeah, it's really cool.
Catch something before, goright there back, boom.
Right, right.
And good parking, I'm sure.
Street parking.
We're trying to learn, teachthose St.
Louisans who like to haveparking lots and all drive their
own cars that if you have towalk a block and a half, it's not
that big of a deal.
It's not.
We got street parking fromLindell all the way to Del Mar on
both sides of the street.
Wow.

(27:33):
Okay.
You're good.
And if you feel like you needa red carpet, just bring your own.
Exactly.
So this is.
Tickets are available again, folks.
Ticketmaster.
This is.
The performances are Thursday,Friday and Saturday at 8pm, Sunday
at 3pm The Pulitzer Prize fordrama was given posthumously for

(27:55):
this, for Eugene O'Neill.
And it's very autobiography, biographical.
You know, reading about hislife, I don't know how much do you
get into his life tounderstand the characters at all?
Not so much more so this playbecause it was.
He was trying to expel the.
The ghosts of his familythrough writing.
It wasn't really even hisintention, I don't think.

(28:17):
Maybe eventually, but a lot oftimes it's, I'm going to write about
this and then I'm going tohave it send it out into the universe,
and then hopefully that'llexorcise these ghosts.
He was like, I'm gonna writeit, get it out of my head, understand
it, give them their due andlock it up.
He's also a playwright.
Here's another thing that'sinteresting with him.
When you get his scripts,there's as much writing in his scripts

(28:39):
about what he intends for theactors to do or what the characters
to do at every.
Because usually you get ascript, it's got some stage direction,
but it's usually the stagemanager who's noted those, and then
they publish it.
He is very specific.
Not that we pay attention tothat, but his intentions are known
within his script, really.
He gives a.
A detailed description of the character.
He gives detailed internalmotivations at almost after every

(29:01):
line.
So you really don't have to doany much investigating with him on
what he's intended there.
But I don't think I needed.
I don't think we needed tounderstand his Childhood or.
It's all there.
Right there, really.
Yeah.
It seems his whole life, evenhis kids.
When I was reading about him,what a sad situation where two of
his sons committed suicide.

(29:21):
His daughter.
I didn't know this Markmarried Charlie Chaplin when she
was really young and he was old.
And then he disowned her.
And it was just a horrifickind of family life.
Yeah.
I don't.
I think it's.
I don't want to say.
I think it is representativeof a lot of society and where we
are in our culture.
Right.

(29:42):
And I.
Maybe that's why he resonateswith so many people, is that he just
writes real life.
Are there other.
Other plays of his that you enjoy?
Moon for the Misbegotten is acontinuation of this.
Jamie, his most troubled son.
But this is really where it'sat as far as he's concerned.
In my opinion.
You can get caught up doing abunch of.
We like, try to mix it up fromyear to year because there's so much
to do.

(30:02):
But this is considered hisgrand opus.
It really is his finest play.
It is one of the greatestplays ever written.
But I don't.
I want people to understandthat it's not just a couple hours
of a bummer.
It is.
There is.
It's so poetic and funny and modern.
The language is so modern.
It's.
Don't feel as though you'regoing to sit through a couple hours
of Shakespeare.
It is.
There are colloquialisms thatyou're like, really?

(30:24):
They were saying that.
That the language is exactlythe same language that we use today.
There's no.
Can you give us an example of.
That dope fiend and tyke?
Just these funny littleexplanations of.
Of things that you're just like.
Really.
They were calling things thatback then, but just.
You're a fine lunkhead.
That's what I call my son a lot.
It's just Lunkhead.
That's like a funny little.

(30:44):
Just little things that.
It's.
Get thee to the medicinecabinet and bring me my.
Whatever.
A sentence full of expletive.
Yeah, it's.
Yeah, it's something.
And it just flies by.
And Patrick Cuber's set andthe things that we have.
And the sound.
Christie's sound and the whole.
And Teresa Doggett's costumesthat are.
Period costumes that we're inare beautiful.

(31:04):
And the lighting is just.
It's really something.
The show.
This play is not produced that often.
And so if you have an interestin these days, because it's a beast
to accommodate.
If you have even an inklingthat you want to see it, this is
a chance that you won't getvery often.
Are there other things on thedocket for the rest of the season?

(31:25):
Yes.
Carter W.
Lewis, who's a localplaywright, who's a playwright in
residence at Wash U, nolonger, but he's still here in St.
Louis, is a wonderfulplaywright who we've produced some
of his one acts through ourone act festival that we hold every
July.
His newer play with fifth isour next play in April.
And then we have our yearly11th annual Labute New Theater Festival,

(31:45):
which is a festival of one act plays.
That's in July.
Okay.
If you want more information,folks, you can go to st.
L a s.org stlas.org andWilliam has a website himself.
It's wmroth r o t h.comwmroth.com that's a great shot with
your hair on that, man.

(32:06):
I envy everybody that hasgreat hair, especially if it's thick
and the gray and the white.
It really looks good.
Congratulations.
I grow it where I can.
I really appreciate you comingin, William.
Josh, thanks for having me.
Yeah, it's been fun having youin here, Mark.

(32:28):
We're going to take a briefbreak and we'll come back after this
message.
This is Arnold Stricker withMark Langston of St.
Louis in Tune.

(32:56):
Thanks for listening to St.
Louis in Tune.
On each and every show, westrive to bring you informative,
useful and reflective storiesand interviews about current and
historic issues and eventsthat involve people, places and things.
We cover a wide range ofcontent in the arts, crime, education,

(33:16):
employment, faith, finance,food, health, history, housing and
humor, justice and sports.
And that's just to name a few.
While St.
Louis intune originates fromthe Gateway City and covers local
topics, we connect to what isgoing on nationally as well.
If you missed any of ourpreviously aired programs of St.

(33:37):
Louis in tune, simply visitstlintune.com that's stlintune.com
there you'll find every showfrom our first to our most current.
Use the search engine and lookfor a show that might interest you.
And if you have an area thatyou'd like us to examine deeper,

(33:58):
let us know.
Just drop us [e-mail] that's stlintunmail.com
St.
Louis in Tune, heard Mondaythrough Friday on the usradionetwork.com
and many great stations aroundthe US and of course, right here
in St.

(34:18):
Louis.
Our website again isstlintune.com stlintune.com.
This.
Is Arnold Stricker of St.
Louis in Tune on behalf of theDred Scott Heritage Foundation.
In 1857, the Dred Scottdecision was a major legal event
and catalyst that contributedto the Civil War.

(34:39):
The decision declared thatDred Scott could not be free because
he was not a citizen.
The 14th Amendment, alsocalled the Dred Scott Amendment,
granted citizenship to allborn or naturalized here in our country
and was intended to overturnthe US Supreme Court decision on
July 9, 1860.
The Dred Scott Heritagefoundation is requesting a commemorative
stamp to be issued from the USPostal Service to recognize and remember

(35:02):
the heritage of this amendmentby issuing a stamp with the likeness
of the man, Dred Scott.
But we need your support andthe support of thousands of people
who would like to see this happen.
To achieve this goal, we askyou to download, sign and share the
one page petition with others.
To find the petition, pleasego to dredscottlives.org and click
on the Dred Scott petitiondrive on the right side of the page.

(35:24):
On behalf of the Dred ScottHeritage foundation, this has been
Arnold Stricker of St.
Louis in tune.
They're back.
They're back.

(35:46):
Spooky.
I was gonna do the Jack Nicholson.
Here's Johnny.
That was a scary movie for me.
And that was a.
He made that line up, did he?
Yes.
Apparently that was not partof the script.
And he was just like.
It's like Robin Williams.
You never knew what was goingto come out of his mouth.

(36:07):
And apparently they had liketranslators on site when they were
doing the Mork and Mindy showbecause he would say some curse word
in another language andthey're like, we can't do that one.
Somebody knew it.
So that's Mark Langston back there.
This is Arnold Stricker overhere from St.
Louis in tune.
They keep me off camera.
It's a good thing because I'mlooking pretty rough.

(36:28):
Got a face for radio.
I know it's pretty rough today.
It's a rough morning.
It was great having William in.
William Roth to talk about theEugene O'Neill show that I couldn't
remember the name of it.
Long Day's Journey into the Night.
I hadn't had my second cup of coffee.
Yeah.
W.
And boy, he's quite anaccomplished fella.
He really is horsing around and.
And then he said.
He did.
Does hockey.

(36:49):
Yes.
He's got the.
I guess the adult.
I know a couple of older guysthat are on a hockey team.
The older Guys, hockey team.
It's tough.
I can't.
He's in a tribute band, too.
And I said, oh, we're going tohave the tribute band.
Really?
I missed that.
We've done that.
I must have missed that.
Yeah.
Really?
Yeah.
He's something.
And he's only, what, 62 or something?

(37:11):
Yeah, 61.
Early six, early 60s.
Anyway.
Still has head hair.
I know.
He's putting us all to shamehere, I'm telling you.
I know.
My goodness.
Fascinating fellow.
It is.
And I think it's a great venue.
We've been there, my wife andI, to see a show and it is very intimate.
You can.
You're right there with theactors on the stage.
It's not far away, and thereis decent parking on the street.

(37:35):
Is there much in thatneighborhood at all?
I can't.
I'm trying to think of North.
North Boyle.
Boyle.
There's.
I think there's more on South Boyle.
It's more residential around there.
It's like one of those stripbuildings that used to be, like,
businesses, and so there'smultiple ones there in a row.
I just can't picture where itis, but it sounds like fun.
It is, it is.

(37:56):
And it.
I want to encourage you to go,folks, also, because the opening
night.
The director.
Now, when is opening night?
Opening night is Friday,February 7th.
Okay.
This Friday.
Tomorrow.
Tomorrow.
According to this show, thisis being.
Recorded on February 6th.
Okay.
But it.
It would be great because youget a chance to meet Austin Pendleton.

(38:17):
That is big.
Yeah, that's.
I was really bumming when Ifound out that he wasn't going to
be coming into studio to talkto us, But I understand.
I hope.
Hope I'm as spry and gettingaround and doing as much as he is.
When I'm 85, I'm shooting for 92.
Are you?
Yeah, that's my goal.
92.
Really?
Yeah.
You don't want to go past that.
If I can.

(38:37):
Yeah.
But that's.
So once you get to 92, it's.
Hey, I made it.
I'm.
I made it to the top of the mountain.
Now we're gonna go more.
Okay.
Gotta start somewhere.
I know.
So our word of the day.
We haven't done a word of theday for a while.
No, it's been a while.
Or what's.
Yeah, yeah.
Let's hear it.
Fugacious.
What a wares.

(38:57):
Fugacious.
It's F U G a C I O U S.
F u g a C I O U S.
Fugacious is a formal wordthat describes Something that lasts
only for a short timedescribes something that lasts only
for a short time.
So my.
I had my fugacious cup ofcoffee this morning.

(39:18):
So here's the rock band'searly success proved frugacious.
Within two years its membershad moved on to other careers or
savor the enduring pleasuresof life as intensely as the fugacious
ones.
I see like a one hit wonder.
Yeah.
One hit wonder would be exact.
Great representation of that.
We did a show on One hit wonders.

(39:39):
That was a great show.
It was fun.
Really enjoyed that show.
Wow.
And St.
Louis in tune is not afugacious radio show podcast.
No.
It's on our eighth year now and.
Show 328 and I think there'smore than that.
There's more than that.
Right.
Because we were doing two hour shows.
Right.
So that's our word of the day.
Did you.

(40:00):
It's National Chopstick Day.
I don't know if that's anykind of important to you or not.
I love using chopsticks.
Do you?
Yeah, I like actually squaresided ones rather than just plain
round ones.
Oh, it's easier for me to hold.
Oh, I guess it is.
Actually.
I went to St.
Louis Sushi Station last night.
Yep.
And got to use some chopsticks.

(40:21):
Love it a lot.
National Lame Duck Day is today.
Oh.
Some people should do that allthe time.
I know.
Optimist day.
Is there a National Pessimist Day?
I would hope so.
Pay a compliment day.
Have you paid a compliment toanybody today?
I said that you were looking effervescent.
That's right.
Now it's also NationalValentine Shopping Reminder day.

(40:45):
Oh.
And if you haven't bought yourroses, you could buy your roses ahead
of time.
I'm lucky.
I am.
The luckiest wife buys you the roses.
No, the cats eat the roses.
So we can't buy roses becausethe cats eat the roses.
Is there a flower that you buyor they just eat all flowers?
No, they either.
Every flower that we broughtin the house they've eaten.
Really?
So I'm off the hook.

(41:06):
What?
Yeah, get her candy.
Another stuff up.
I'm having trouble with hereating the candy though.
The cat eat the candy too?
No, not usually.
No.
We keep the.
How about Ronald Reagan Day?
It's national.
Ronald Reagan.
Oh, it hits his birthday.
It is his birthday, but it's.
They call it national.
A couple other birthdays gone by.
Is Babe Ruth's birthday is today.

(41:27):
Wow.
Mr.
7:14.
Wow.
Look at you and Bob Marley's birthday.
Yaman would have been today.
Yaman.
That's right.
There's Natalie Cole's birthday.
I don't know.
There's a couple others, butthose are Some of the Time to Talk
Day.
That's important.
You did a.
We did a show on mental health.
There's a day that you should just.
Hey, let's talk.

(41:48):
And I want to do a commercialfor that 988.
If you're feeling like youreally need to talk to somebody,
you can text or call 988.
That is the national hotline for.
It's like suicide prevention,mental health awareness.
Yeah.
And you mentioned tomorrow'sNational Red Day.
Wear Red.
Wear Red Day in honor of the Chiefs.
Oh, really?

(42:10):
A KU guy is.
A KU Guy's okay with the Chiefs?
Oh, yeah.
Okay.
Just Kansas City.
That's true.
A National Bubblegum Day iscoming right up.
Did you, when you were a kid,eat the bazooka bubble gum?
Oh, you know, the pink stuff.
And then you had the cartoon inside.
Yeah.
So big, though.
Oh, it was.
You start chewing, my jawwould get sore.

(42:33):
Yeah, it would.
It would really get sore.
And we used to buy thebaseball card, chewing gum things.
I kind of throw the baseballcards away just for the gum.
Yeah, you shouldn't have done that.
Or put a baseball card on your bike.
And.
We did that a lot, too.
Yeah, that was that MickeyMantle card.
Oh, yeah, that's the one.
That's the Mickey Mantlerookie card.

(42:54):
Wow.
Holy moly.
You like fettuccine Alfredo?
Yeah, that's NationalFettuccine Alfredo Day for your Italian
friends.
We ought to devise our ownnational days.
Why not?
And of course, National RoseDay is on its way.
Let's see.
Wave all your fingers at yourneighbor day.
All your fingers.

(43:15):
It's national.
Wave all your fingers.
As opposed to one.
I'm not saying they're number one.
You know how people are sayingyou're number one, but you want to
do all the figures.
Wave at your neighbor day anyway.
Yeah, okay.
This is not good.
I don't know.
Bubblegum day.
Yeah, that we talked aboutBubblegum day.

(43:37):
Yeah.
Have you ever had any of thatBig chew the baseballs, rather than
it being tobacco.
Yeah.
It's like shredded bubble gum.
I've had it before.
Is that any good?
It's okay.
It loses its taste so quickly.
Same thing with Juicy Fruit.
Juicy Fruit loses its taste quickly.
Yeah, I like Juicy Fruit, butit loses its taste.

(44:00):
And I am not a big bubblegumchewer anymore.
I was chewing bubblegum abouta year ago, and one of my fillings
came out with it.
It will do that.
And so I said, nope, nope.
Like hard candy.
No more hard candy.
I can't do it, but I'm veryafraid of it.
National Kite Flying Day iscoming up.
Yeah.
That's fun.
We did a show on kites withthe kite flyers in here in St.

(44:23):
Louis.
Yeah.
How about Opera Day?
That's just around the corner.
Yeah.
Opera Theatre St.
Louis is getting ready to gearup for their production and their
season.
No fooling.
Laugh and Get Rich Day.
That should be every day.
Laugh yourself into betterspirits and enrich your health and
happiness, too.
Enrich.
I thought it was really great.
Rich laughter and rich Day.

(44:43):
It says Laughter and Get rich Day.
And get Rich day.
Oh, they didn't say should.
Said enrich it.
Wasn't the Cha Ching rich Cha Ching.
No, it should be.
It's just your.
I'm feeling better.
Yeah.
You want to be enriched.
We're getting enriched.
Global Movie Day.
Don't know what that's aboutat all, but I like movies.
Do you ever go to the movie theater?
We.
We do.
Depends upon what the movie is.

(45:04):
I'm trying to remember.
We went to the.
At the Alamo, down at the.
Wow.
The Alamo Theater.
Oh.
Which is down at the Foundry.
Okay.
And they have the great seatsthat you can lean back and they're
like moon seats, and you fallasleep and they come around and serve
you drinks and food.
It's.
It's nice.

(45:25):
I'm trying to remember thelast one.
Maybe it was Gladiator 2 we saw.
Huh.
Now, of course, the super bowlis coming up this weekend.
Yes.
Who are you rooting for?
Mark.
And I don't know.
It's been hard for me to rootfor Kansas City.
Why?
Because they've always beenour arched enemy.
And then when the Rams left,it's not really their fault, but
they were leading the charge to.

(45:46):
That's correct.
To vote and get the.
To get the Rams out.
To get the Rams out.
And some of the Rams or theKansas City fans have really criticized
the St.
Louis fan base, I think, inthe past.
And we did.
Randy Mohlman has that molehole show, and he did a comparison
once on when the Rams had abad season and when Kansas City had

(46:10):
a bad season and what kind ofattendance they were getting.
And by far, the St.
Louis fans showed up more thanthe Kansas City fans did, even when
it was a terrible, horrible season.
But yet we were verycriticized by them.
But I am a Missourian, so I amrooting for.

(46:31):
For the Kansas City.
Not a Fan of the City ofBrotherly Love football team?
No, not really.
It should be.
I just hope they both playreally good and they don't choke.
They don't get scared becausePatrick Mahomes is in or whatever
is going on there.
I.
I hope it's a good matchup.
I think it's a great matchup,but I hope it's a good game.

(46:54):
We.
They.
We were talking on the mulholethis morning about how long there
was their bets being taken.
How long the national anthem.
I was listening to those.
It's gonna be.
And if Taylor Swift.
Right.
If they'll show her during thenational anthem.
Yeah.
No.
You don't think so?
Yeah.
I said no.

(47:14):
Randy said yes.
He thinks they.
They're gonna pan over to her.
They can't do a flyover eitherbecause it's in the dome down at
New Orleans or.
Oh, that's right.
No, no flyover.
That's true.
That's true.
They have some drone flyover.
I forgot about that.
That's right.
That's right.
So we'll.
We'll see what happens.
It's going to be aninteresting day.

(47:35):
And it's also the Super Bowl.
Sunday is a couple of weird things.
National Pizza Day.
Well, that makes sense.
Do you.
What do you like to eat at theSuper Bowl?
That would be good.
Yeah, pizza.
I would go for that.
And they also.
It's also National Man's Day.
We don't get any stuff goingon, do we?
Right.

(47:56):
It's National Man's Pizza Day.
That's right.
And this is your day coming up.
National Toothache Day.
Oh, yeah.
You've had a.
To the dentist Monday.
Are you really see how this is.
I might not be able to talkfor the show on Tuesday.
Oh, brother.
Okay.
Chocolate day and all.
There's just so many days youcan't keep up with them.

(48:16):
Yeah.
So hard to keep up with.
And it's almost humorous thatsome of the things that you find
out have these national days.
Oh, yeah?
Yeah.
Who's doing that?
It's like the teacher whoasked the student, where's your homework?
And the student says, I lostit while wrestling this kid who said,
you weren't the best teacherin the school.

(48:39):
Give him an A.
Yeah.
We should be able to call in healthy.
Look, I'm not coming into theoffice today.
I feel really good and I don'twant to waste it being at work.
I think that's perfect.
Speaking about teachers andeducators and students, my teacher

(49:01):
pointed a ruler at me and saidat the end of this ruler is an idiot.
I got a detention for askingwhich end.
Oh, I'd give him an A for that.
I just received my electricitybill the other day, Mark.
I think they billed me forsunlight, divine light and the light
at the end of the tunnel.

(49:22):
Don't get me going on utilities.
Speaking of what to eat duringthe super bowl, charcuterie boards
that you have cheese and meats.
A charcuterie board isbasically an adult lunchable where
you swap the Capri sun for one.
That was.

(49:42):
We weren't sure if we wantedto applaud that or not.
I just found that theneighborhood had a meeting about
the crazy person on the block,and it's weird that they didn't invite
me.
Do they have their number?
Your number?
You know, it's a cold day whenyour teeth start shattering and they're
still on the nightstand.

(50:08):
Wow.
No, don't do it.
Don't do it.
Let's see here.
As a kid, I used to watch thewizard of Oz and wonder how someone
could talk if they didn't havea brain.
Then I got social media.
Earlier today, I saw a bumpersticker that said, I'm a veterinarian,

(50:30):
therefore I can drive like an animal.
Suddenly, I realized how manyproctologists are on the road.
It's like waving with all yourfingers, right?
Yeah.
This was actually on.
Breaking news.
A man was admitted to thehospital today with 25 plastic toy

(50:51):
horses inserted in his rectum.
Doctors have described hiscondition as stable.
Wow.
Ouch.
That is.
And my brain says, I seeyou're trying to sleep.
Well, can I offer you aselection of your worst memories
from the last 10 years?

(51:17):
And lastly, my friend forgothis laptop on the floor of my room.
My grandma thought it was a scale.
Conclusion.
She weighs $950.
Wow.
You can get them cheaper on ebay.
Yes.
Holy moly.

(51:38):
Wow.
That's all for this hour andwe thank you for listening, folks.
If you've enjoyed thisepisode, you can listen to additional
[e-mail] considerleaving a review on our website,
Apple Podcast, Podchaser, oryour preferred podcast platform.
Your feedback helps us reachmore listeners and continue to grow.
I want to thank Bob Berthicelfor our theme music, our guest William

(51:58):
Roth, and co host Mark Langston.
We thank you for being a partof our community of curious minds.
St.
Louis in tune is a productionof Motif Media Group and the US Radio
Network.
Remember to keep seeking, keeplearning, walk worthy, and let your
light shine.
For St.
Louis in tune, I'm Arnold Stricker.