Emmy-winning writer, Tony-nominated actor, playwright, director, & lyricist Kevin Del Aguila

On this episode of On the Rocks, curtain up as we welcome Emmy-winning writer, Tony-nominated actor, playwright, director, and lyricist Kevin Del Aguila as we chat about his life on Broadway, his view on writing for youth, the evolution of diversity and inclusivity in the theatre, a behind the scenes look at his time in Broadway’s Some Like It Hot, his current role as the Wizard in Once Upon A Mattress, and more…with guest co-host Broadway guru Michael Ferrera and your host, Alexander Rodriguez. Raise a glass, it's On the Rocks!

Episode Transcript

Speaker 1 (00:01):
Straw Media.

Speaker 2 (00:02):
Hello on the Rockers, Light the lights.

Speaker 3 (00:04):
We are chatting with the Master of all Trades, winning
Emmy winning writer, Tony nominated actor, playwright, director, lyricist Kevin
de Lagilla is here. Hot off the opening weekend of
Once Upon a Mattress co starrned Sutton Foster and a
guest ire Michael Yuri, and we welcome back guest co
host Broadway guru Michael Ferreira and me your sassy host
that the sassy most. Raise a glass at the drinks

(00:25):
begin It's on the rocks.

Speaker 2 (00:32):
Thank you.

Speaker 3 (00:34):
Light is a banquet and most pour suckers are starving today.

Speaker 2 (00:38):
I'd like to propose a toast. This is on the Rocks,
Alexander Wright. Drink with your.

Speaker 3 (00:44):
Favorite celebrities as we talk about fashion, entertainment, pop culture,
reality TV and well.

Speaker 2 (00:50):
That's about it.

Speaker 3 (00:51):
So pop a core course, clean back, and raise a
glass to on the Rocks.

Speaker 4 (00:57):
It's to be a.

Speaker 3 (01:01):
Buttons and boths and panty hosts on the Rocks podcast,
the place where we're too glamed to give a damn things.
I am grateful for this beautiful Los Angeles weather.

Speaker 2 (01:08):
Things.

Speaker 3 (01:08):
I'm not grateful for the lady with the huge teased
hair sitting in front of me and opening night of
Once Upon a Mattress. Her hair was so big, I was.

Speaker 2 (01:16):
Like, excuse me, lady.

Speaker 3 (01:17):
Follow us on Instagram and TikTok at on The Rocks
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Speaker 2 (01:20):
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(01:42):
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one in Boston.

Speaker 2 (01:49):
Hi Boston.

Speaker 3 (01:50):
We probably tape at ubn GOO Studios, your one stop
place for podcasting.

Speaker 2 (01:53):
All right, let's get the show on the road.

Speaker 3 (01:55):
Returning to On the Rocks, Michael Ferrara has over twenty
years experience working in the LGBTQ NOE nonprofit community. Having
attended the par Summer Olympics, he is currently spearheading a
new organization, Our Athlete Fund, that will help support LGBTQ
plus Elite athletes. Is a trained for collegiate, national, and
international competitions while providing a safe and inclusive space for
the athletes and fans to gather and experience those competitions

(02:18):
live and Pridehouse is coming to West Hollywood for the
next Olympics, so got to get in shape for that.
Michael had an early career in the theater from the
age of seven and has continued his love and support
for the theater by keeping it central in both his
personal and professional lives. He has seen just about every
single Broadway show every year without fail, and has rubbed
elbows and other body parts with numerous personalities from Music

(02:39):
Call Theater. Please welcome back, Michael Ferrera. And you actually
got to see some like it hot and you saw
Peter and the Starcatcher, our guest.

Speaker 5 (02:48):
We have a long term relationship going on as a
fan and talented performer, So yeah, definitely saw Peter in
The Starcatcher.

Speaker 3 (02:56):
Yeah, absolutely, Note going back to Broadway post COVID, how
is the energy different?

Speaker 5 (03:02):
You know, it's interesting because like I've actually picked up
like this, this hunger for it, and I know that
there's you know, there's a lot of talk about how
expensive the tickets are and how that you know, keeps
people out and so forth. But you know, I kind
of think the shows go on the road a lot
more than they used to, and they go with the
great casts like they're not you know, like when I
first moved to La we got like you went and

(03:23):
they did TV stunt casting. You got like, oh, they
came up the street from you know, bus and Buddies
did the show. You know, like so you're like, now
we get.

Speaker 4 (03:32):
Like this cast. Look at this cast.

Speaker 5 (03:33):
It's like full of incredible stars, incredible talent, people that
have been in a lot of shows and have a
lot of experience. So, you know, I think theater is
kind of really hot across the country, and so you know,
I don't know, I think maybe Broadway's just that sort
of like you know, it's the North Star, yeah, you know,
and everything closed from that. So but yeah, I the
shows that I've been to, the good ones, the ones
that earn it, they're full.

Speaker 3 (03:54):
You know, and movies like Wicked are bringing a younger
generation to theater that might not ever have stepped into
the theater. It's becoming very generationally friendly from Back to
the Future shows like that that bring people in.

Speaker 5 (04:05):
I'm sort of giggling right now because you wouldn't believe
how many times in the last week or two that
I've been driving down the street and you hear somebody
blasting the Wicked soundtrack in their car.

Speaker 4 (04:14):
And it's not just big queens, It's like.

Speaker 2 (04:17):
It's everybody, It's everybody.

Speaker 3 (04:19):
Yeah, all right, let's bring on our guest, Kevin della Algira.
Now that's how you should say it, because it means
of the eagle, right. I have heard his name pronounced
a million different ways, so he's probably gonna set me straight.

Speaker 2 (04:30):
And I don't even know where to start with this guy.

Speaker 3 (04:32):
Kevin is an Emmy winning writer, Tony nominated actor, acclaimed director, playwright,
and lyricist.

Speaker 2 (04:37):
Hailing from New York City.

Speaker 3 (04:38):
He's a multi emmyward winning writer of the PBS show
Pegan Cat, lyricist of songs featured in the Disney animated
movie Strange World, and book writer of the hit comedy
Altar Boys, which made history as one of the longest
running off Broadway musicals of all time. Broadway audiences recognize
him from the original cast of Some Like It Hot,
which he received a Tony nomination, By the Way, Frozen,
and Peter in the Star Catcher and Children Everywhere. I
have heard his voice as a troll in Disney Blockbuster Frozen.

(05:01):
He's appeared in Love's Labour's Loss at the Public Theaters,
in Shakespeare in the Park, God Bless You, Mister Rosewater
with James Earl Jones, by the Way, and the off
Broadway revival of Jacques Brow. TV appearances include Law and Order, SVU,
You Gotta Do SVU if You're in Theater to give
us Who's Deadbeat?

Speaker 2 (05:16):
And Pagan Kat.

Speaker 3 (05:18):
Other writing works for the stage include his superhero musical
The Astonishing Return of the Protagonist, musical adaptation of the
DreamWorks film Matt Gascar and the wildly popular books series
Diary of a Whimpy Kit. And there's YouTube videos of
them recording the album It's Really Fun and He's received,
and also cat Kitcomic Club, which ironically is playing at
the Kirk Douglas at the Center Theater group right next

(05:40):
door to the Amansen which Kevin is appearing in Once
Upon a Mattress until January fifth.

Speaker 2 (05:45):
Please welcome Kevin. Up there we go. There.

Speaker 3 (05:49):
Okay, Kevin, just set me straight. Pronounce your last name
the way it should be pronounced.

Speaker 1 (05:56):
Yes, the correct pronunciation of my last name is Kevin delah.

Speaker 2 (06:02):
Is it ag or aguilar?

Speaker 1 (06:04):
Well, it depends how much Spanish you learned in high school.
If if you learned a lot, then you should say
del aguila. If you didn't take a class, then you
can say dela aguila, you can say, you can say Kevin.

Speaker 4 (06:20):
I had it.

Speaker 2 (06:23):
Kd A, that's kDa.

Speaker 3 (06:26):
You are such a New Yorker, You're like the unofficial
mayor of Hell's Kitchen. But you actually hail from California, Bakersfield,
to be exact. There's not much theater happening in Bakersfield.
How did your love affair with performing arts start?

Speaker 1 (06:40):
Yeah, not a lot happening in Banksfield. Although I really
did most of my growing up in Lancaster, California, out
there in the Mohave Desert. And you know, when I
was in school, I really, you know, I actually when
I was when I was a kid, when I was
I guess I can round second third grade. I remember
there was I was in a summer camp and I

(07:04):
put on, I wrote, directed, and performed in a production
called Stupid Wars, which was a parody of Star Wars,
and I did it all. I was in the thing,
I directed it, I got all my friends to be
in it, and we won second place in the talent show.
And I think from that moment on, I was like, well,
this is how you do it is this is just

(07:25):
what you do. And so I never, you know, questioned
that it couldn't be done, or I couldn't do all
three or or you know, it couldn't happen. So when
I went to school, when I was in high school,
I remember thinking I would like to be in a
in a drama club program anything, but Annalold Valley High
School didn't have a drama club or class. But the

(07:47):
local community college had an improv class after school at
like eight pm. So my mom drove me to, you know,
the ann Old Valley Community College for this improv class
with all these college kids, little old me, and it
wound up being a really really formative kind of thing
because they were very talented people, and I learned improv.

(08:11):
That was the first acting class that I took, and
it was, you know, everything that I wanted to do.
You kind of like have to write on the fly,
you have to learn to perform, you have to listen
and respond. I mean it was actually the perfect way
to be introduced to performing on stage, learning how to
be on stage and create theater. So, you know, when

(08:31):
college came along, I thought, I guess I'll major in acting.
And the way I went to UCSB too.

Speaker 3 (08:41):
I'd love that you started so early off And what
I for a fourth grade talent show? I wrote, starred in,
and directed a parody called Star Quacks and it was
based on Star Trek. And my mom made every one
of those uniforms by hand. By the way, we're all
like an uniform. But that is so funny. It's like, yeah,
you just do it yourself, like nobody told us. No,
we didn't know, like, oh no, no, you know that's

(09:01):
I love that. So Star Wars, Star Trek. Okay, you
went to university in Philadelphia. I have to know what
were your best classes and what were your worst classes?

Speaker 1 (09:10):
Well, yeah, I went to college and you see Santa
Barbara for undergrad and then I was scared to join
the real world. So I went to grad school in Philadelphia,
and you can't get more different than Santa Barbara and
North Philly. So that in itself was kind of good
and bad as far as college was concerned. But at

(09:31):
Temple University there was a class called theater X, which
was supposed to be this kind of experimental, kind of
anything could happen class, and it was bad. It was bad.
Good thing didn't come out of that class. It was
all all bad, a lot of giggling and a lot
of stories that looking back on it were good, but

(09:53):
at the time it was like, what were we doing
theeter X?

Speaker 2 (09:57):
Nothing was I like a theater gym class like ex
fit or.

Speaker 1 (10:03):
Yeah that might be better. Actually, what It's.

Speaker 5 (10:05):
Interesting you just made that comment about like, you know,
it wasn't ready for the real, the real world yet.
And I've been listening to some actors autobiographies recently and
in al Pacino and a couple others, they've all said
at that point in their career, like I really had
to make a choice whether I wanted to be, you know,
part of this acting workshop or the actor studio or
you know whatever, just to be able to be like,

(10:25):
you know, cause I think, you know, they always say
you got to keep working, right, but you know, even
if you're not getting paid for it, you got to
keep working as an actor, so you're honing that craft.
But like, I thought that was really interesting that it
seems like that's a common thing at that point in
your career, Like can I find this protective environment where
I can nurture my talent.

Speaker 4 (10:43):
Or or not as case maybe with that class.

Speaker 1 (10:47):
Yeah, yeah, no, I was really scared of even majoring
in theater because I thought, you know, do people really
make a living doing this? Can it? Is it possible?
You know? And of course my my parents were a
little little concerned about that as well. Although my father
was really you know, he said, a lot of people
go through their lives, you know, trying to find what
they want to do. You're lucky, you know what you

(11:09):
want to do, so go do it. So he was
very supportive. My mom, on the other hand, was like,
what are you going to fall back?

Speaker 3 (11:14):
So well, I mean, you made them proud. I mean,
look at your look at your resume. It's like, oh,
I'll just do that and that and that and that
and that and that. Now we share coming out stories
on the show. So, Kevin, I want you to share
your coming out as straight in theater, like that's that's
a story for a man in the musical theater.

Speaker 4 (11:36):
You're all suspect do that.

Speaker 1 (11:37):
That's right exactly.

Speaker 2 (11:40):
But being a straight eye in theater growing up, yeah,
you know.

Speaker 1 (11:44):
I mean, I think we're out there. The straight people
are out there. We're there and we're proud allies. And
you know, I think being in the theater, it's the
funny thing is that, you know, you get to meet
so many different people of different ethnicities, different you know,
sexual preferences, different, just everything. And I don't think that

(12:07):
the majority of people get to have that kind of
contact with those people, that kind of experience with people
and that kind of realization that we're all the same,
we're all going through the same stuff in our own ways,
and that level of empathy that comes with that, that
level of understanding, that level of love that comes with that.
You know, when you're these people become family with every production,

(12:29):
you know. And so I think being in the theater
and you know, meeting people of all stripes and colors
and shapes has been you know, one of the kind
of wonderful things about it is that I've I've gotten
to meet and learned from so many people.

Speaker 3 (12:44):
So well, and as a parent, I mean, that's an
amazing environment to come out of because you share that
kind of sense of inclusivity and being open mind. And
I think our younger generation is going to save us
because they don't have these weird norms like we had
growing up in terms of srual identification, gender fluidity, masculinity
and feminine. You know, these younger generations, they just make

(13:05):
up their own rules and they don't give a crowd.

Speaker 5 (13:07):
It's great because like we grew up in the theater world.
I think sometimes we asked those questions as day guys
that were in theater because you know, like for me,
that's where I met the first men that I felt
would accept me. You know that it didn't matter like
they were actually you know, men that had were in
touch with their emotions and were exploring themselves and we're
in touch and like, yeah, they made me feel welcome

(13:27):
and inclusive. So people like you you know that we
that were around me and until then, like I was
just afraid of guys, you know, but then theater just
changed that.

Speaker 2 (13:37):
So Kevin.

Speaker 3 (13:37):
After grad school, you moved to New York. You're moving
to the Big Apple. I have to know what were
those early audition years, like you know this this kid
who went to school from Philly is now in the
audition Rowe.

Speaker 1 (13:48):
I mean this was pre internet. This was you know,
you had to get a voice male number. You know,
that was the most important thing. You need to get
a voicemail, and you need to you know, read Backstage
magazine every week and go to every open call and
stand in line out in the freezing cold. It was

(14:09):
kind of brutal, like nowadays that there's like virtual lines
and you know, every every question you have is answered
online and where as you know, when I was in
New York, it was like everything seemed like it was
like conducted through rumors and you know, the grape vine,
and like you would just find out about things as
you went along. And I always felt like completely clueless.

(14:32):
I had no idea what I was doing, where I
was going, who I was meeting, where I was auditioning for.
It was the wild West as far as I was concerned.
And you know, when I first got out there, they
looked at me and they said, you're a young character actor.
You're going to have a great career in twenty years.
Nobody needs a young character actor now. And I was like, well,

(14:55):
what am I supposed to do for twenty years? Like?
And the answer, ironically, it was two things. First of all,
children's theater. Children's theater, they're the ones looking for young
character actors. They need these young people who are willing
to get paid nothing and to play everything from an
alien to a cow to a dog, whatever they need,

(15:18):
you know. And so I auditioned for a company called
TheaterWorks USA worked on children's productions, and they hired me.
They were my first job in New York and I
have worked with them ever since as an actor, as
a director, as a writer. And in fact, Pat Kid,

(15:38):
which is playing as the Kirk Douglas right now, was
commissioned by TheaterWorks USA.

Speaker 2 (15:44):
So they've amazing.

Speaker 1 (15:44):
I been a great supporter of my career and belief
in my talent, and an incredible playground for me to
learn all the disciplines of theater. They were the first
ones to commission me to write lyrics for something, even
though they had little reason to believe that I could
do it, and they just continued to believe in me
and support me, and so I'm forever grateful to them

(16:06):
for that. And it all started in that casting in
New York. And the second thing that kept me going
for those twenty years was writing. Was you know, I
had been writing things when I was a student in
UCSB and when I was a student in at Temple University.
And when I got to New York, me and my
unemployed actor friends, you know, would just look around and
they'd say, let's put up some of your stuff. We've

(16:26):
got nothing else to do. Let's self produce this and
at least we can invite you know, casting directors or
people to come see it. And some artistic directors at
theaters that I had had little you know luck being
cast at came to see it. Said Kevin, you can write.
I didn't. I didn't know that, you know, keep working
on this piece and maybe we can, you know, submit

(16:47):
it to be done at our theater. And that happened,
and or I knew it. I had these two careers
kind of you know blossoming.

Speaker 4 (16:56):
It was.

Speaker 1 (16:56):
It was a wild, wild experience that.

Speaker 3 (17:00):
Was fresh well and I've heard you talk about those
early years and it's like it's a page out of
like Charles Bush's life, you know, where you have your
unemployed friends and you just mount whatever show and again
there's nobody telling you now because you're doing it yourself.
And I just love that kind of energy. And I think,
you know, our younger generation of actors should do more
of that, should explore all sides of theater, from the

(17:23):
writing part of it, the acting part of it, or
just do your own damn thing, you know. I think
a lot of us just wait for opportunity to come.
It's like, no, you have to make your own opportunity.
What do you miss most about those early starving actor years.

Speaker 1 (17:35):
I mean, you're right, like the kind of like balls
of just like let's just do it, you know, and
you have your little group of friends, you know, and
you're all like working towards the same like ridiculous goal,
and you're pouring money into it and you're doing everything
you can. I my friends and I put up a
play about Jackson Pollock, the abstract expressionist painter, and we

(18:00):
poured every bit of our souls into this thing. We got.
We rented a basement in Brooklyn and we would rehearse
and smoke and drip paint all over the place, and
you know, we rented this theater in Soho and we
were going to put up this this big show. We
got a set designer who went off to upstate New

(18:23):
York and started designing like Jackson Pollock's barn studio, like
a real, like big replica of it. He was the
most you know, successful among us because he had been
working for the Conan O'Brien show at the time, and
he was like, I'm going to take the moon from
the Conan O'Brien set and I'm going to use it
on our set. And I was like, you're stealing Conan

(18:43):
O'Brien's mood. How is this? But this kind of infects it,
like at a certain point, this infectious kind of desire
to just like, no matter what it takes, this, we're
going to bring this thing into being, like that starts
to take control. And those those were the moments that
you looking back, I was like, we were nuts, like
why did we think this was even like possible? But

(19:05):
you know, that kind of frenzy of creativity and belief
that you were doing something the most important thing that
could possibly be done, Like that's what it took to
put the thing up and it was kind of amazing,
Like we had a little New York Times article like
written on us and stuff like that, just out of
sheer luck, and it was kind of an amazing experience.

Speaker 2 (19:29):
Kevin, I want to.

Speaker 3 (19:30):
Talk about your writing for kids programming, you know, Blues Clues, Clifford,
what have you. You know, it was announced that Sesame
Street is officially off the air now. I mean, Sesame
Street is such an important part of everybody's childhood. You know,
these characters, you know exactly the show. How much did
we learn from that show. It's so amazing to me
that such an institution is gone. It's unbelievable. You're writing

(19:54):
for kids, you know, how do you keep your finger
on the pulse of what children want to see, what
they should see, especially in an age where kids now
are younger. I mean I see like six year olds
with their own iPhones now and they're going through TikTok
and they're scrolling through social media. How do you write
for that generation? What should we be showing kids on TV?

Speaker 4 (20:15):
Like?

Speaker 2 (20:15):
What stories should we be telling?

Speaker 1 (20:17):
Well? I may have a little controversial take on this.

Speaker 4 (20:20):
I love it.

Speaker 1 (20:21):
Bring it children's television world, But you know, because I
was writing, you know, for kids in the theater. I
learned what kids like and didn't like very quickly. There
is no critic worse than a room of squirming. You
learn right away they are not into this. You have
rewriting to do tonight. So I got to focus group

(20:43):
every single performance, you know, and you start to learn
pretty much pretty quickly what they're into and what they're not.
And kids are very smart. There's not much difference between
kids audiences and adult audiences other than the volume. They
will tell you exactly how they feel good or bad,
you know. So and I got commissioned to write the

(21:05):
Diary of a Wimpy Kid musical based on those books
and these dog Man and Cat Kid books, and they're
written by the by Dave Pilkey, who's the author of
the Captain Underpant's books, and both of these books, the
Wimpy Kid and the dog Man books are a little
controversial in the elementary school set because they're a little edgy.

(21:30):
You know. They use words like jerk and idiot, and
you know, they've got some scatological humor, and so teachers
are always like, I don't want them to read this book,
you know. But they're reading, so we can't tell them
not to read these books. So you know, these books
are kids gateway into reading, and so they have to

(21:51):
let them do it. But the great thing is that
the books seem like they're written for kids like kids. No,
this wasn't deluded before it got to me. This is
like directly from their brain to mind, and it is.
It is speaking directly to me. And I learned a
lesson from that that like a little edge in children's

(22:12):
entertainment is what makes them realize, ah, I own this.
You know, this is speaking directly to me. It's not sanitized.
You know, kids understand play that they do it all
day in the recess and you know the recess field,
and so you know you have a bunch of like
adults running around playing on stage. They get it, they
understand you know, that language. And so I think those

(22:35):
experiences made me kind of when I first was asked
to write for children's television, like I just brought all
of that into it and they said, Kevin, gosh, you
have a knack for this. I said, I guess I do.
I didn't realize it, but my name kind of got
thrown around pretty quickly after that. And you start to
realize that you write these things with jokes and this
and that, and then it gets sent to the sensors

(22:59):
of children's TV and they just take away everything good
about it. Everything anything the least bit you know dangerous
or you know dangerous, I say, but anything that's that
could be you know, elicit some kind of emotion, and
they just even it all out so that it can
be easily digested by everyone and completely bland. So but

(23:22):
I did work on a few shows you know where
that wasn't always the case. You know. The Pig plus
Cat Show was a great show on PBS. It was
this you know, little kid in her hat and they
were literally living out you know, math problems, math things,
and you could produce by Fred Rogers. But they were
very kind of lenient with like that. They wanted it
to be funny, they wanted it to be you know, wacky,

(23:45):
and so you could get jokes by and it was
it was a musical like you would write all of
these like songs and stuff like that and to kind
of you know, get all the maths to go down
a little easier. And it was a fun experience because
you were like, oh, these are like genuinely fun, funny
shows that kids are enjoying well.

Speaker 2 (24:02):
And I understand.

Speaker 1 (24:02):
I think Bessome Street will show up again. But because
they were very good at that.

Speaker 4 (24:06):
You know.

Speaker 2 (24:06):
Yeah, and I understand.

Speaker 3 (24:08):
Once upon a Mattress, you guys did a performance for youth,
and from what I understand, it went extremely well, which
is interesting for as such a classic piece. You know,
I know it has an updated book, but still it's
a very classic piece. But I hear that that performance
was amazing.

Speaker 1 (24:24):
Yeah, the decibel level of them screaming and going wild
was great, and yeah, they really like responded to it.
Like I sometimes you're wondering, like, are these like dusty
old jokes going to go over with these kids? But yeah,
weirdly like they were getting everything, you know, and uh yeah, So,
I mean it just goes to show you when you

(24:46):
talk down to kids, yes, it's the worst, but when
you treat them like they're you know, valuable and have
value and are smart, they respond.

Speaker 5 (24:57):
As I was listening to you talk about that, like,
I was thinking about my influences as a kid and
the things that I've like to watch, and you're right,
they all had a little edge to them.

Speaker 4 (25:05):
Are a little strange.

Speaker 5 (25:06):
I mean, doctor SEUs, that's strange, right, Like that kind
of stuff is like yeah, and no, thank you for
that perspective on it. And I think, yeah, kids are savvy.
We all grew up on Bugs Buddy cartoons like how
deep are those?

Speaker 4 (25:18):
Right? Yeah?

Speaker 5 (25:19):
Yeah, And I think kids knew that too, that there
was much more going on than.

Speaker 4 (25:23):
What was just obvious.

Speaker 1 (25:26):
I grew up reading Mad magazine and liked ye completely.
Like you know, now I look back and I was like,
I shouldn't have been reading it.

Speaker 5 (25:35):
The Yeah, but clearly I hear your the the influences
on your what you've chosen to do as a as
a professional, and then seeing you act and things like
Peter and the Starcatcher and Once Upon a Mattress because
you have that you do have a very natural improvisational
style to your acting, which I think is always kind
of like, it's interesting because you know that I have

(25:55):
a feeling that your performance is maybe a little different
every night.

Speaker 1 (25:59):
Well, yeah, you know, it's funny that you mentioned that.
I've said this before, but there was a time when
I was writing my writing career was kind of taking
off a little bit more. I'd done a show at
the Fringe Festival, and a producer saw it and said, oh,
I'd like to move it off Broadway, and I was
like great, and that didn't happen, but he was like,
I have this other show about this religious boy band

(26:21):
called Altar Boys, and I think you may have the right, like,
you know, sensibility for it. And so I wound up
writing the book for this musical called Altar Boys, which
became a big hit off Broadway and ran for five years,
and kind of believe that writing and suddenly I was like, oh,
you're the guy who wrote Altar Boys.

Speaker 4 (26:38):
Great.

Speaker 1 (26:38):
You know, I had some kind of cachet, and but
I was getting cast as an actor in these kind
of regional shows where it was like all right, you
stand here, you do this, blah blah blah, you know,
and I was just sort of like, I'm not enjoying this.
I'm not enjoying performing. It's not fun, it doesn't seem creative,
whereas writing it's nothing but creative. It's like, you know,

(26:59):
I'm really enjoying that. So I kind of unofficially quit acting,
or at least I didn't, you know, I stopped kind
of pursuing it, but I didn't tell anybody. That was
the key. So every now and then people would just
call me in for something to audition or to be
in a reading or a workshop of something, and I
would look at it and now would go, well, I
can't say no to that, like a prequel of Peter Pan.

(27:22):
That sounds pretty good. I better go in for that.
And so I went in and I was part of
this Peter in the Starcatcher show downtown at the New
York Theater Workshop, and before you know it, it like
moved a Broadway and I was in this amazing company
of actors who were all so funny and so creative
and so amazingly smart and just amazing. They and the

(27:47):
show itself was very playful, and it just reinvigorated my
love of performing. That group, that show, that experience, it
was all just so it kind of unlocked exactly what
you're saying, this this kind of feeling of like it's
play and it's fun, and that's where it should all
come from. It should always be like that. You know,
even if you're in a drama, there's there's a you're

(28:09):
you're playing. So that show is very special to me
because it really like completely brought me back to the
roots of loving being on stage and performing and realizing
that there is creativity in performing. It's not just an
interpretive art form. There is a creativity within it. You know.
Christian Borel, the actor, Christian Borel was playing the Captain

(28:29):
Hook character and I was Smee to his Captain Hook.
So I got a front row seat to his Tony
winning performance in this show, and it was just a
masterclass to watch because he was really like he would
just throw wild things out there every night and make
me laugh constantly on stage and it was a great experience.

Speaker 5 (28:52):
Yeah, good point, because yeah, I like when I made
that comment to you about you. I think about Christian
Borrel because whenever I see him act, it seems like
he's playing and you too, Like in this show once
Bona Matchos. I remember you when you played Smee like
you are playing and h And it's great, you know,
because the child is there, So yeah, it's kind of
a it's kind of consistent, right, the child seems to

(29:12):
be always there with you. So it makes sense that
the children's theater are such a big part of your talent.

Speaker 2 (29:17):
Kevin.

Speaker 3 (29:18):
You've been personally involved and you've seen this evolution of
theater as it relates to inclusivity and diversity. You know,
you being a minority actor, We're seeing gender and racial swapping,
We're seeing an increase in queer representation. What's your take
on this evolution? Because you know, people are saying, oh,
theater has become so woke now, it's just like you know,

(29:38):
casting is all over the place. What's your take on that,
because you are personally involved in this kind of evolution.

Speaker 1 (29:44):
Yeah, I think after the pandemic there was a big
push to really kind of write the scales. People were
realizing that things had not changed in certain ways, and
people weren't in the rooms that made that change, and
there needed to be a kind of revolution in getting
people that were underrepresented in those rooms so that new

(30:06):
stories and new casting representation could actually happen and not
just be a box that was checked by the people
that were constantly, you know, checking those boxes without real
meaningful change happening. So I think that that push was made,
and I think in many respects it has made a difference.
I think to producers and the people kind of in charge,

(30:27):
to their credit, I think they many of them made
a big, an honest attempt to make those changes happen,
and I think you see that in certain in many respects.
This last couple of years, I've been involved in two
shows that really kind of opened my eyes to those things.
One was Some Like It Hot, which was the old

(30:49):
movie but with a modern kind of take on gender identity,
and the way that that was met was really interesting
because it was met with a lot of skepticism on
one hand, because people were looking at this kind of
is it another one of these man in address comedies
which we do not need any more of? And other

(31:09):
people were like, no, this is an interesting, modern take
and telling a story that needs to be told right now.
And I feel like it landed right in the middle
of that kind of firebrand discussion of all of that,
and in some ways it was a victim of that,
and in other ways it was kind of a harbinger that,
you know, but I thought it was a really bold

(31:31):
and brave thing for the producers to put that show
on in that way, and it had It was written
by Matthew Lopez. The book was written by Matthew Lopez,
who you know. I got involved in the show in
a very weird way because I was called to sing
on a demo of it that that Mark Sheman was
writing the music for.

Speaker 3 (31:48):
And I understand that the demo didn't go quite the
way you wanted it to go.

Speaker 2 (31:53):
Is that a true story?

Speaker 1 (31:55):
It was fresh true, That's an absolutely truth. I was
in Disney World and I got this text saying, Hi,
I'm Mark Shaman, would you record a demo for this
like a hot musical? I was like, I don't know
who you are.

Speaker 4 (32:08):
I know who you are.

Speaker 1 (32:10):
I met you, and I was like, absolutely sure. So
I spent my whole vacation learning this ridiculously hard song,
singing on the teacups and and uh yeah. I went
in there and I sang it my best and I
made a lot of mistakes, and I, you know, I
started losing my voice, and I was like, well, I
blew my shot with Mark King, but got how nervous?

Speaker 5 (32:32):
Right, Yeah, came first, the Frozens later, right, Frozen was
earlier earlier?

Speaker 4 (32:40):
Okay, So is that where the relationship started to form?

Speaker 1 (32:42):
And I think the cast and director Bernie tells here,
I think he forwarded my name to him, So that's
where where he got my my details. But yeah, luckily
he contacted me again and said we rewrote the song
come on in and I want you to sing this.
And and while I was there for that demo, Matthew Lopez,
the book writer of the show, was there and he

(33:05):
looked at me and he said, I'm thinking of making
this character part Latino. And I was like, oh, like me,
I'm I'm I'm half Latino. My mother was from from
Liverpool and my father was from Peru. And he was like, yeah,
I think it'd be an interesting thing. You know, this
whole show is about this sort of duality of things,
and it'd be interesting if your character had a duality

(33:25):
that went with that theme as well. And I was like,
that's great. That's not just checking a box, it's it's
a great, you know, thematic thing to have there. And
so that's what he did. He wrote this character and
it kind of comes out in the second act that
he has this you know, other side to him, and
I thought, that's a really that's the way to do it.
That's a really really great way for representation to be,

(33:47):
you know, part of a show and integral to a
show in a certain way. So I really thought that
was an important thing that happened in that show. In particular.
And then I was just in another show on Broadway
called yellow Face, which was written by David Henry Wong.
It was a show that was done off Broadway at
the Public Theater back in two thousand and seven. I think,

(34:09):
like he wrote it a long time ago, and it
just came to Broadway this year in twenty twenty four.
And when I wasn't part of it in two thousand
and seven, but when it was done there, one of
the cast members was in it then and I said,
what was it like? And he said, oh, back then,
he said, Obama had just been elected, you know, was

(34:31):
being elected, and we were in a post racial world
and you know, there was no this was all passe.
Why are we watching this play that was about the
casting of Jonathan Price as an Asian in Miss Saigon?
You know, why is this such a big deal now?

Speaker 2 (34:49):
You know?

Speaker 1 (34:50):
And flash forward to twenty twenty four, this play has
taken on incredible relevance with the Asian community and just
representation in general and how race plays a part in
America and the American dream and everything. So it's so

(35:11):
funny how play that he wrote back in two thousand
and seven, like the culture kind of caught up to
it to a point where you could put it on
Broadway and people would understand what's going on and what
it's about, whereas in two thousand and seven they were
kind of like, I don't get it.

Speaker 3 (35:25):
Yeah, And I had the honor of interviewing Matthew Lopez
and we talked about your character's relationship specifically, and there
was even clapback from the trans community for some like
it hot now being involved as an actor being part
of that love story, were you kind of like, well,
damned if you do and damned if you don't. How
did you handle like that kind of because nobody expected

(35:48):
any clap back from the queer community, but as we know.

Speaker 2 (35:52):
Yeah, we like to clap back.

Speaker 3 (35:54):
Was that frustrating for you because it's like, look what
we're doing, Look what we're bringing to Broadway, Look what
we're bringing to the story line, and still people had
an issue with it from the community.

Speaker 1 (36:04):
I mean in a way, I mean, I there's a
you know, I have a certain understanding that it's a
complex issue and it's a hot button issue, and everybody's
got a definite point of view about it, you know,
on one end of the spectrum to the other, and
so I understood that there was a lot of you know,
big emotions involved about it. But at the end of

(36:24):
the day, I thought the way that it was handled
was very beautiful and very helpful to an audience that
may not be as aware of the issue. In many ways,
it follows, you know, this character who has to dress
as a woman, and then throughout his experience realizes he's

(36:45):
found his true self, you know, and it's set in
the thirties, so there's no language about how to define
what he's feeling, how to define, you know, who this
new person emerging is. And I thought that that was
very helpful because for the general public coming to see
the show, to follow a character through their evolution, through

(37:07):
their journey from you know, Mann in a suit to
a person at the end who's got this whole other
world opened up to them, I thought that was a
very important thing to show a general public. And we
we would hear from people. A guy you know who
worked at the stage door for us, he said, I

(37:28):
want to come see the show. So he took the
night off and came to see the show from the front,
and later he said to us that after this character's
big song extolling the defining themselves as I am who
I've meant to be behind him, he heard this guy
say to himself, I've got to be more kind to
my son.

Speaker 4 (37:48):
Wow.

Speaker 1 (37:48):
And so you would hear little things like this that
would come back to us every now and then, and
you would think, you know, I know that there's a
lot of you know, static in the air about you
know this, that or the other, but there are personal
people who are sitting in the audience who are taking
the message and making a difference in many ways. So yeah,
there's a lot of people out there with a lot

(38:09):
of opinions. But I felt like the message behind it
was pure in many ways, and I think it did resonate.

Speaker 5 (38:17):
I think that's such a poignant perspective on that because
you think about I mean, Strange Loop's been out, but
that's not a general audience show. I mean, like, I
would love the general audience to go see it. But
I mean, frankly, I've been working with friends people and
trans issues and trans children for years, and Strange Loop
was sophisticated for me. Like I was like, I need
to see the show a few more times to really
catch everything. But you're right, I mean that it was

(38:39):
such a beautiful, simple story about finding yourself and love
and you know, and the way you just described that
as just beautiful. So I appreciate your insight. That's why
it was delivered as well as it was, because you
all appreciated it, did it well well?

Speaker 3 (38:53):
And your Tony nomination. Do you remember where you were
when you found out you were nominated?

Speaker 1 (38:58):
Yeah, ah, yes, of course I was. The funny thing was,
the whole cast was on like Good Morning America or
the Today Show one of those. They were going to
perform that morning, but I wasn't in the number. So
I was sitting at home in my Jammy's waiting to
watch them. And you know, we all like tuned into
the to the announcement and so yeah, me and my

(39:20):
wife were screaming our heads off in our living room
and then all the texts and videos are coming in
from the cast because they were all together, and so
I had this beautiful video of them, like they announced
my name and the whole cast erupts and it was
it was brilling, like the whole thing was, especially coming
out of the pandemic.

Speaker 2 (39:37):
Yeah, it was a first year.

Speaker 3 (39:39):
That was your first stage performance from the from COVID right, yes, yes.

Speaker 1 (39:44):
And it really felt like I mean, you know, we
all sort of forget now, but like it was dark.
It was dark. We wonder like will theater ever come back?
Is this ever going to happen? And the first reading
I did was they called me and they said we're
going to read the latest draft of some like Get Hot.
We're gonna be six feet apart, everybody's gonna have a mask,
the windows are gonna be open. Like it was, you know,

(40:07):
not ideal and scary in many ways because it was
early on and Mark Shaman got at the piano and
started singing and playing these songs and it was like
little a burst of life. It started to awesome and
come back. So my journey with something like a Hot
really was like life coming back. And everything that happened
with it was gravy. You know, it could have closed

(40:29):
on opening night and I still would have thought this
was a great experience, but the fact that it led
to a Tony nomination and so much joy and love
and happiness, you know, it was just a great experience
from beginning to end.

Speaker 3 (40:41):
Kevin, I have a video i'd like to show you,
and I'd like you to comment as, what the hell
is going on, Tony?

Speaker 2 (40:48):
Can you play this video?

Speaker 4 (40:53):
This is great?

Speaker 3 (41:07):
Okay, okay, what what in the holy hell?

Speaker 1 (41:18):
I have no idea who that man.

Speaker 2 (41:22):
I'm not taking responsibility for that. How funny. And then
it went viral. So funny. What was the first night
that you started doing that?

Speaker 1 (41:30):
I honestly don't remember. I mean the show ran for
over a year, so you know, at a certain you know,
probably around like month five or six, like I noticed
that Christian Borrel would look my way for a quick glance,
you know, while I was waiting to go on stage,
and I would smile wave. Then before you know it,

(41:51):
I'm jumping around doing whatever I did just to you know,
make him laugh. So for that one little moment, I
would always do something. And I I had no idea
that one of the crew members for the last three
months of our run was started taping what I was doing.
And after we closed, he sent me this huge iCloud
you know, cash of all of these videos and it

(42:15):
was the greatest like gift ever. I couldn't believe that
I was watching. So I put a little bit together
and my wife is like, don't post this card. Post it,
don't do it, you will be labeled as that guy
messing around. But I was like, oh, it's funny.

Speaker 4 (42:33):
Click. Yeah.

Speaker 3 (42:37):
You know, Kevin, we've over the last decade talking about
mental health and the entertainment community, like we're actually talking
about mental health. When you are pulled in so many
different directions from your writing, from your directing, from your acting,
also being a family man, how do you maintain your
mental health with all of this great question?

Speaker 1 (42:55):
I wish I had a good answer. I think, uh,
somewhere along the line, I've learned to not take everything seriously.
You know. There's a certain point where I feel myself
kind of short circuit, and I don't know if that's
healthy or not. I think in some respects it may be,
and in other respects it may not be. But I've

(43:16):
learned that when things start to build up, there's a
point where everything kind of shuts down and I realize
I need to walk, I need to go somewhere, I
need to see a movie, I need to call a friend.
I need to just search the internet and go down
a YouTube, you know, rabbit hole about like some serial

(43:38):
I eight in the seventies. Whatever it is, like, I
think for my mental health, I need to kind of
just go somewhere else, you know, and then come back
later for the you know, the next day or or
another time. I think that's the only thing that's kept
me saying a lot of times when I felt pulled
in a different direction. There was a time where I

(43:59):
remember I had so much going on and it was
all all the schedules were crashing, writing, acting, blah blah blah,
and I remember thinking to myself, I'm supposed to be
in three places at the same time. Two people are
going to be really upset with me because I can
only be in one place. So what do I do?

(44:20):
And I remember thinking, I'm just gonna have to be
okay with this. Yeah, and I'm going to have to
tell them what's going on and tell them, you know,
this is the situation. They're with me, please, and we're
all going to get through this together. And you know,
you start to realize it all works out. It always
works out, and it will work well.

Speaker 3 (44:40):
It's not even just about being in three different places
at the same time. As creatives, there's that whole emotional
and mental energy when you're being creative. You know, from
start to finish, whether you are interpreting a character, whether
you're sitting down to write, that's exhausting. It's not just
clocking in, you know, and doing data entry that as
a whole toll in itself is just being creative.

Speaker 2 (44:59):
Is tired. It is tiring.

Speaker 3 (45:01):
Once upon a Mattress, you play the Wizard. It's not
playing at the Auminton until January fifth, All Star cast.

Speaker 2 (45:07):
Are you doing shenanigans?

Speaker 3 (45:08):
I mean you have Anna Gasteire who's like SNL shenanigans,
Michael Yury, who's I was. I was able to chat
with Michael last week. He's so fun as well. And
of course At and Foster are there shenanigans happening backstage?

Speaker 2 (45:22):
Not from me.

Speaker 1 (45:24):
I'm the new guy on the bluff Broadway right, the
wizard from Broadway brooks Ashmanskis. He couldn't come out, so
they said, Kevin, you're our new wizard. And so I
got very little rehearsal. Time I was gonna ask I
landed here. They put me in a wizard's costume and

(45:44):
pushed me on stage. So I'm I'm, you know, still
kind of finding my way. But this group has been together,
so they're running around doing shenanigans.

Speaker 4 (45:53):
Around me.

Speaker 1 (45:55):
I'm sure I'll catch up with them, but no, they're
a great group and I I find myself, you know,
watching them on stage and just grinning and being happy
to be in their their wacky fun company. They're all
so kind and talented, and you know, it was fresh.

Speaker 3 (46:15):
It truly is a very talented cast, and it's so diverse.
There's you know, from all the different career spots and
you know, Michael going from shrinking to the show, and
this cast has been together. They did encores and then
they took it to Broadway. It's so unprofessional. But if
I was working with Anna, I would keep asking her
to do her SML.

Speaker 2 (46:32):
Characters because she's so good.

Speaker 3 (46:34):
And then her Capital one commercial is now showing where
they where they do their podcast people.

Speaker 4 (46:38):
Yeah, she surprises people a lot. Yeah, they don't know
how talented she is.

Speaker 1 (46:43):
But yeah, you said to her, I said, I saw
you as elf but wicked.

Speaker 2 (46:48):
Yeah, people don't realize it.

Speaker 5 (46:49):
Yes, Yeah, I had to tell somebody that I went
with the to the show that the other night, and
I guess Sorr was alphabet. You know, like you're seeing
a cast that is like that. That's a top notch
cast from the top the bottom.

Speaker 3 (47:01):
When I first heard her singing, she was doing a
show at Catalina, and I bought tickets because I was
such an SNL fan, and I thought she was going
to do her characters and all that, and I was like, oh, well,
she sings, okay, blew me away that right as I was.
I bought tickets for the next night to go back
because she was such a great storyteller. She sang Book
of Love and the way she interpreted it, and she
dedicated to her to her daughter, and it was just

(47:22):
like tears tears, What's upon a Matress, like we said,
is a classic musical. But when I was at the show,
and I'm sure you experienced the same thing, older people,
younger people, everybody was just laughing and enjoying it. What
is it about this classic piece that still speaks to
modern audiences.

Speaker 1 (47:38):
I don't know, I'm not sure. I mean, we're in
this place where like people are really interested in fairy tales.
Fairy tales seem to be you know, kind of the thing.
We keep coming back to these these you know, whether
they be the Wizard of Laws or or you know,
the Hans Christian Andersen, stuff like Frozen and I think
this was a Hans Christian.

Speaker 2 (47:59):
Yes, of course.

Speaker 1 (48:00):
So yeah, I think there's something about like these these
tales that we know, but they're twisted or fractured, or
you know, there's there's something new to them, or we're
learning a different side of the story. I think something
about that is is in the zeitgeist. I'm not exactly
sure why, but this one is fun in that, you know,

(48:22):
the Princess and the Peace story is pretty pretty cut
and dry. You can't get what it is, and so
there's a lot of fun to be had and how
these characters are are portrayed, and and how much the
audience is involved in this show too. You know, it's
a very presentational show.

Speaker 3 (48:41):
I mean, it's so inclusive. And one of my really
good friends, she's Trance, she was there opening night and
her take on it was, you know, you can feel odd,
you can feel out of place. You could be like
the weirdo, and you still have a place and you are. Yes,
you can still win the show, you know, being an outcast,
being seen as different, you can certainly run the show.

Speaker 1 (49:02):
There's a line in the show like he's unusual and
she's unusual, and maybe they can be unusual.

Speaker 3 (49:07):
To Yeah, they were so weird together. I was so
jealous of that relationship. It's like I want to find
a weirdo. Yeah, okay, I am such a fanatic. And
we know that every theater actor's like bucket list has
to have an appearance on Law and Order s VU,
and I've seen every single episode.

Speaker 2 (49:28):
I have to know what was your experience on set.

Speaker 1 (49:30):
I can't believe you're asking me this. So, yes, I
found a body on Law and Order SVU and I
was very excited. But I had one of those lines
that had a lot of like scientific jargons, and so
I didn't study the line as closely as maybe I

(49:53):
should have. No, And I got on set and suddenly
they were all of these you know, extras running around everyone,
and there was all of this flurry, and I suddenly
got very nervous, and I thought this is happening, Like
why didn't I think that this was going to be
like this? And I had a scene with Chris uh
maloney and uh, I blew my line and over and

(50:19):
over again, and finally at one point before we did
when he said, can we please get our lines right
so we can go? No, No, he shouted it to
the heavens, but it was directed.

Speaker 2 (50:32):
Oh god, So if you ever see me.

Speaker 1 (50:35):
On the show, you'll just see my eyes glazed and
saying these lines out of sheer, sheer fear.

Speaker 3 (50:43):
Do you know how many times I watched that show?
And as an actor I feel anxious because, like you're right,
there's so many moving parts, it's like you just got
to do it. And the fact that they walk so
much while they're talking. It's like, no, I can do
one thing. You want me to do my line or walk,
You're not gonna get both. It fills me with such anxiety.
It's those it's those lawyers medical show. Yet I'm not

(51:03):
just speaking regular lines.

Speaker 4 (51:04):
It's hard enough to learn lines. Then that's hilarious.

Speaker 3 (51:09):
Kevin, with all of your experience, all the different projects
that you've done, and all the other actors you've worked with,
whether you've been with them on stage or you've directed
them or you've written for them, what do you think
the biggest challenges facing actors stage actors are today?

Speaker 1 (51:24):
Great question. I mean, I think we're still kind of
finding our way into this new world. I mean, as
you said earlier, people are you know, more aware of
theater than ever, and like the Wicked movie and stuff like,
you know, kind of help with that. And there always
seems to be this kind of like desire for theater

(51:46):
and this need for it in many ways, and yet
shows come and go, like you know, shows that you
think like, well, this has got to be a hit,
like this person doesn't catch on, or you know, another
one that you're like, I don't think this show is
going anywhere, suddenly comes the biggest thing ever. And so
there's this kind of unknown, you know, quality to theater
in general. And I think for performers kind of navigating

(52:10):
that is very difficult because they're always you never know
if you're gonna get you know, cast in something that's
like the biggest hit in the world, or is gonna
you know, be you know, oh my gosh, I'm stuck
in this clunker for like how long. So it's I
I really feel for performers because you know, in many ways,
their fate is kind of like resting on this unknown

(52:33):
that's just floating around there. And so I think that
challenge is kind of keeping your your self self in
capital letters alive and with perspective and understanding of your
place in this in this you know environment while continuing

(52:54):
to make a living. You know, uh is the hardest
thing for any performer. But the thing that keeps people
going is that you could be down on your luck
one day and the next day you get a call
and suddenly you wind up.

Speaker 2 (53:07):
You know, don't give up, like keep the hustle going.

Speaker 5 (53:09):
Yeah, yeah, yeah, and be careful what you wish for
were You're doing eight shows a week, right, and what
is their gole?

Speaker 4 (53:17):
Live?

Speaker 3 (53:17):
Like you're on stage and literally right across the way,
it's a show that you know wrote, you know, it's
it's quite crazy already. You have such a legacy of work.
You know, who knows what the future hold in store.
I mean, you could go in any direction. What kind
of legacy do you want to build with your work?
What do you want the message of your work to be?

Speaker 1 (53:38):
I mean, I hope at the end of the day,
you know that that people realize that in my writing,
my performing, everything that I was about was about humor
and love and joy, and you know, a little a
little message tucked in there, maybe something you know to
take away that's a little a little meaty, But yeah,

(54:02):
I think that's it. I think you know, I love creativity,
I love imagination, I love you know, making people laugh
and laughing myself, and so yeah, I gravitate towards those things.
And I feel like the people who respond to me
and the things that I do also gravitate toward those things.
So I hope that would be my legacy.

Speaker 5 (54:22):
And maybe a little related, is there a piece of
this business that you haven't done yet that you still
want to do because you've done.

Speaker 4 (54:29):
So much of it, more than many, more than most.

Speaker 1 (54:32):
Really, No, I know, I'd like to write for adults
a little more, you know, But you know, and TV
and film are always you know, kind of beckoning in
some sort of way. But as my career shows like,
I'm that guy that if the you know, a million
doors are locked, you know, find the window and get
out that way, you know. So I'll take whatever is

(54:54):
is open, knowing that it will always lead me to
a new and interesting place.

Speaker 3 (54:59):
Absolutely, Kevin, I cannot thank you enough for spending your
your your day off with us, and go see What's
upon a Mattress if you're in Los Angeles. It's playing
at the Amondson until January fifth. Such a great cast
and there was not one empty seat by the way,
which was which was really great to see. Thank you,
thank you, thank you. In uh final question, what's your

(55:21):
message to your fans?

Speaker 1 (55:23):
My message is to my pair of fans, please keep coming,
please keep enjoying, and UH and thank you.

Speaker 2 (55:36):
And where can people find and follow you?

Speaker 1 (55:39):
I'm at Kevin of the Eagle on the Insta, so
they can they can follow me there and see that
ridiculous video that.

Speaker 3 (55:46):
You and you Your website is great too because it
has everything that we need to know about you.

Speaker 1 (55:53):
Yeah, yeah, you can run down my my, my entire life.

Speaker 3 (55:57):
Well, thank you, thank you, thank you so much. Have
a great run in LA and I think I'm going
to see the show again, so I'll be seeing you soon.

Speaker 1 (56:06):
Fantastic, Thank you both, Thank you Kevin.

Speaker 3 (56:10):
And that's it, folks. It's always a grab bag of
fun here. You never know who's going to show up
on the rocks. Big thank you to our engineer and
station owner Tony Sweet, and thank you to my guest
co host Michael Michael. Where can people find and follow you?

Speaker 5 (56:19):
Oh you put me on the spot. I forgot it's
Michael dot Ferer on Instagram. And and also you know
my my nonprofit is out af dot org and and Brander.

Speaker 3 (56:29):
Okay, please like, share, subscribe so we can continue bringing
the show to you, coming your way until next time.
Stay happy, stay healthy, stay sexy. Oh I forgot this
is our last show until next year. Bring to take
a little break, so if you drink, stay tipsy. We'll
see you in January.

Speaker 4 (56:45):
Bye.

Speaker 3 (56:47):
This has been another.

Speaker 2 (56:48):
Episode of On the Rocks.

Speaker 3 (56:49):
Tweet me and slide into my dms on Twitter and
Instagram On the Rocks on air. I'll find everything on
the Rocks for free at on the Rocks Radio show
dot com. Subscribean review and show until next week. Stay fabulous,