January 22, 2025 • 14 mins
Join Grammy and CMA Award-Winning Songwriter and Musican Brandy Clark, and
Tony Award-Winning and Grammy Nominated Producer Mike Bosner as they chat with
DMPA President and CEO Jeff Chelesvig about what it takes to write an all-original
musical like Shucked. Listen as they talk about the years long process it took to make
Broadway’s corniest musical.
Tony Award-Winning and Grammy Nominated Producer Mike Bosner as they chat with
DMPA President and CEO Jeff Chelesvig about what it takes to write an all-original
musical like Shucked. Listen as they talk about the years long process it took to make
Broadway’s corniest musical.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Thank you for joining us for this episode of DMPA Conversations.
I'm Jeff Chelswig, President and CEO of Des Moines Performing Arts.
Today I am joined by Grammy and CMA Award winner
Brandy Clark, who with Shane McAnally, wrote the music and
lyrics for the show, and producer Mike Bosner. Brandy and
Mike will discuss their roles in creating the original musical Shucked,
(00:26):
part of our Willis Broadway series. These podcasts are designed
to give you an insider's perspective of the fantastic performances
headed to DMPA stages. Thank you again for joining us,
and now here is my conversation with Brandy Clark and
Mike Bosner. Corn.
Speaker 2 (00:40):
Yes, we said Korn, just as sure as day that
you were born.
Speaker 3 (00:47):
In the evening, it's for suffer and it's great in
the morning.
Speaker 1 (00:50):
No, it ain't our bread that's plattered. No, Brandy, Mike,
thank you so much for joining me today. We're super
excited to be bringing Shucked to Des Moines in its
national tour. I'd love to start by asking both of you,
when people ask you what's the show about, what's your
one or two sentence line that you say.
Speaker 3 (01:08):
About it, well, I mean I always say it's about
Coorn just because that's funny, and people, you know, they
see the big corn cop on the playbill. But I
think it's really you know, I've got to say. When
Mike came on board, he said, the thing that I
think is really what it's about, which is family and
community and love and maybe even loving some people you
(01:28):
don't like, but they're part of your community, so you
watch out for them.
Speaker 2 (01:31):
I always say it's about people coming together, and that
by you know, looking at the people who may be
different than you, maybe you.
Speaker 4 (01:40):
Can get more done together than we can apart.
Speaker 2 (01:43):
And Corn was a metaphor for kind of the world
we're living in. And the show although so funny and
such a good time and it goes down easy and
you can come and have a great time and laugh,
and the music is amazing. It's really kind of prophetic
in how it's talking about the world we live in today.
(02:04):
And it's something that I've been so honored and excited
to see the writers and the team come together and
we're so proud of what it's become, and especially the
time that it has come to Fruition.
Speaker 1 (02:16):
Just to get this out of the way. I think
you both may know this, but the number one state
in the country in terms of corn production is the
state of Iowa. And I have to say, growing up
on a farm here in Iowa many years ago, I
come to shows like this and I think, oh, it
is this going to be bashing farm people and rural people.
I don't think that at all. I think it's a
jumping off point, kind of like you know, the Book
(02:36):
of Mormon mostly takes place in Uganda, but it's not
about Uganda. It's about friends, and like you said, this
show is about family. Corn is just the jumping off point.
Speaker 2 (02:44):
It's so funny that you say Book of Mormon, because
when anyone is looking for like a quick descriptor of
this show, I always jump to It's like Book of
Mormon set in a cornfield, but less raunchy, more wholesome
Book of Mormon, because it had that same level of humor.
Speaker 4 (03:06):
But it, you know, we just it's a little bit
more digestible, a little bit more family friendly. That's great.
Speaker 1 (03:12):
Well, let's talk about the history of this show, because
many of our audience members don't realize how much time
it takes to put together a show like this.
Speaker 3 (03:19):
Yeah, you know, it started for me I think it
was twenty twelve, myself and Shane McAnally, who we wrote
the music and the lyrics. We were contacted that Gay Lord,
which is now Opry. They wanted to musicalize the television
show Hehaw, and Shane and I both had memories of
watching he Haw with our grandparents. I mean they were
(03:41):
very early memories, like barely barely remember them, but we
did have them, and so that intrigued both of us,
and so we met with Robert Horn, who was writing
the book for the Hehaw Musical, and he chose us
and gave us an outline and we just started writing it.
And you know, we found out pretty quickly that Hehaw
(04:02):
was not going to fly on Broadway our very first reading.
In fact, we had three songs that had been in
the television show that they wanted us to work in.
That went away right away, and it was decided that
it needed to be a linear story, and so we
started working on that and then it became Moonshine that
Hehaw Musical. We worked on it for a couple of years.
It opened in Dallas I think twenty sixteen ish got
(04:25):
very mixed reviews and sort of died. And then Robert
won a Tony for TUTSI and started to get interest
and wanted to bring this show back up and had
some interest in with some producers. And then Shane said, well,
if we're going to talk about this again, I feel
like there's a guy I know, Mike Bosner. We should
(04:47):
give him a shot at it. And then Mike came.
Speaker 2 (04:49):
In, Well, and it's so funny to hear and we
talk about the genesis of the show all the time
and the Hehaw of it all or the not Hehaw
of it all. And I remember hearing about this, you know,
Hehaw was coming to this stage and I just, you know,
I'm not actually a jealous person by nature. This business
has been really good to me. But I remember hearing
about this show and I'm like, man, that is such
(05:11):
a good idea for a musical. And one of my
first questions was I got to know Brandy Shadan Robert
was why did you guys get away from Hehaw? And
then it just became very clear that the show had
kind of moved beyond what he saw was and so
that it was a very clear path of like, oh,
this is actually not he haw at all, but I
(05:32):
always loved that idea. I told you exactly what the
show was going to be, good, beat, or and different,
and really the reason that I jumped in more so
than anything else before anything. It's like, I'm from the Midwest,
I'm from Saint Louis born and bred, and I'm a
huge country music fan and the idea of celebrating country
music on Broadway with the two best country songwriters was
(05:56):
just thrilling to me.
Speaker 4 (05:57):
And that's where it started for me.
Speaker 1 (05:59):
That's great. I remember hearing about this many many years ago,
probably as you said, Brandy twenty twelve, thinking wow, because
I watched it as a kid too, and I was
just like, oh, this is a cool idea. Brandy, tell
us a little bit about you. And Shane wrote all
of the music and lyrics for this show, right. Was
there anything that you had that you'd written prior to
(06:21):
this or was it all for this show?
Speaker 3 (06:23):
It was all for this show. There were a couple
songs from that first version, but most of it was
written once Jack O'Brien came on board to direct. He
was really smart and that he didn't tell us we
were going to have to basically write a whole new score.
He just did it a song at a time. So yeah,
so it was all all original, and you know we're
(06:47):
still I feel like we're still writing songs for it.
Speaker 1 (06:49):
Really well yeah.
Speaker 3 (06:50):
I mean, somebody will get a wild hair that we
need a different.
Speaker 4 (06:52):
Song somewhere, and so.
Speaker 3 (06:54):
We'll write a new song.
Speaker 2 (06:57):
I will say, to the credit of Randy and Shane
and Robert and the whole team really that even after Broadway,
there were a couple moments.
Speaker 4 (07:05):
That we all thought we could do better.
Speaker 2 (07:07):
And you know, there's a new song that opened the
second act right now, and we kept working so that
we wanted to not only put our best foot forward
for the tour and make sure that audiences like yours
and the Moine we're seeing the best version of the show,
but also that the actors who are coming in really
felt like they were getting the full process with the
(07:27):
real team and that they could learn.
Speaker 4 (07:29):
It and make it their own.
Speaker 1 (07:31):
Well, you have two collaborators that are well honored. You
mentioned Robert Horn and Jack O'Brien. I've you know Jack,
I just I'm so tickled by him.
Speaker 4 (07:43):
I don't know him.
Speaker 1 (07:44):
Well, we've met a couple of times over the years. Gosh,
he's just he's so funny. Am I accurate when I
say that?
Speaker 3 (07:51):
I mean, is he like, Oh, he's hilarious. I mean
there are things I can't say on this podcast that
he has said that are so funny. But you know,
I think more than even funny. Jack to me is
like I would put Jack up against any of the
great sports coaches, Nick Saban. You know, Jack is a
(08:12):
great coach. He knows how to bring a team together,
he knows how to get people to play well together,
he knows how to motivate. I mean, he's he is
a special soul. I think we're all so lucky that
we were all lucky that we have all of each other.
We're really lucky we had someone like Jack who has
so much experience with hits and misses. I mean, he
(08:34):
talked a lot about the things that didn't work, and
I think that helped us along the way.
Speaker 1 (08:39):
What I loved about the show when I saw it
was that the songs integrate so well with the humor
of the show that had to be challenging.
Speaker 4 (08:48):
Tell us about that, Oh.
Speaker 3 (08:50):
Well, that's such a nice compliment. The three of us
always wanted it to feel like it was written from
one voice.
Speaker 4 (08:56):
And I have to give.
Speaker 3 (08:57):
Robert Horne a lot of credit for that. He really
shamed and I had never written a musical, and he
really went through it with us, and he would sit
in the room when we would write songs, and especially
book songs, which are songs where you have dialogue in
the middle of a song you might have seen and
then come back to the song, and he really really
helped us. He let us steal from his book. I
(09:19):
mean he the independently Owned, which was a big number
for Lulu in the show, that was taken right out
of his text. So he was just great that way
to let us do that. And so I think a
lot of that credit does go to Robert for setting
that comedic tone, and then Shane and I just picked
up on it.
Speaker 1 (09:38):
What are your favorite moments in the show? You have
a favorite moment that you can talk about without giving
away too much about it.
Speaker 4 (09:45):
Well, I can go first.
Speaker 2 (09:46):
My favorite moment of the show is maybe Love, which
is a ballad that happens at the end of the
first act, and it's.
Speaker 4 (09:55):
The moment really where everything kind of changes for our
herald when in our leading lady and.
Speaker 2 (10:01):
She's really questioning everything that she thought she knew.
Speaker 4 (10:06):
She's coming into her own as a person.
Speaker 2 (10:10):
And I'm such a fan of Brandy and Shane's and
Roberts and everyone on the team, and I tell Brandy
this all the time, but I constantly will listen to
the original demo that Brandy did of that song and
her just playing it on the guitar and singing it.
Speaker 4 (10:28):
It's just her.
Speaker 2 (10:28):
It's on a little iPhone recording and it just cuts
straight to the heart. I think it actually encapsulates what
the show is in the best possible way.
Speaker 4 (10:39):
It's not funny, but it's one of those moments.
Speaker 2 (10:42):
That for the show what we do so well is
we bang you over the head and almost beat you
into submission with comedy, and it's just so funny, and
just when you're at the breaking point of I cannot
laugh anymore, you kind of sink into these soul songs
and again profound lyrics.
Speaker 4 (11:04):
That really just take you to a new place.
Speaker 2 (11:07):
And I cannot think of a better moment of this
show than maybe Love. Every time I hear it, it
makes the hair on the back of my next standout.
Speaker 3 (11:15):
That's probably my favorite song in the show. So it's
hard for me to choose something else, but I will
say selfishly, my favorite moment is the opening number Coorn,
and it is really selfish because I'll sit there and there.
The thing I love about this show is, I think
because it's such a team effort between Shane, myself and
(11:37):
Robert Jack, Sarah o'gleivi ar choreographer, Jason Hallan our music director,
and then the cast, I forget that I did it.
And when I see that opening number, I will literally
get so lost in it and just be loving it,
and then I'll think, oh, wow, we did this. Like
(11:59):
I remember when Jack said I want an opening number
that's just a celebration of corn, and Shane and I
went outside and started working on this song called Corn,
and it's so much bigger than it was that day
that I forget that that's where it started.
Speaker 1 (12:14):
Well, I remember distinctly when I saw the show that
song right away drew me. And it was funny, it
was clever, it was choreographed beautifully. It's just it's a
great opening number, so congress.
Speaker 4 (12:25):
Well, it kind of smacks you in the face too.
Speaker 2 (12:27):
It does pull you in very quietly and distinctly, but
then it's just this explosion you're kind of sitting there
to an audience member now that we're talking about like,
maybe that is my favorite moment because it's.
Speaker 4 (12:40):
Hard not to just be saying, like what am I
seeing right now? I don't know, but I really kind
of love it well.
Speaker 3 (12:48):
And I have to say another moment. I know you
only asked for one, but is to do it between
Lulu and Maysie friends. That is a moment that we
really all fought for. It would go away, it would
come back, and I feel like it's so important because
it shows this other side of Lulu in particular that
(13:09):
I think, you know, when people would see the show,
Alex Newell would just take the roof off with independently Owned.
And then there's that moment between these two cousins and
friends that really grounds it.
Speaker 1 (13:22):
Anything else you'd like to add about the show.
Speaker 2 (13:24):
Come see it. I promise you will not be disappointed.
It's been amazing to see as we embark around the country,
just to see everybody just have this outpouring of surrender
of love to what's going on on those stages. And
I am pretty confident that everyone in Desmuno Field the
same I'll tell you.
Speaker 3 (13:44):
What my brother said that I always hang on to.
He said, if you love to laugh, it's your show.
If you don't love to laugh, I don't know what's
wrong with you.
Speaker 2 (13:54):
I love that.
Speaker 1 (14:25):
We appreciate you joining us for this special conversation. The
d m p A Conversations podcast is produced by Andrew Downs.
To our donors and season ticket holders, thank you for
providing the foundation for great performances and educational opportunities at
the Win Performing Arts. Visit d m p A dot
org or wherever you get podcasts for future conversations like
this one.
Speaker 4 (14:44):
Thank you for listening.
Thank you for joining us for this episode of DMPA Conversations.
I'm Jeff Chelswig, President and CEO of Des Moines Performing Arts.
Today I am joined by Grammy and CMA Award winner
Brandy Clark, who with Shane McAnally, wrote the music and
lyrics for the show, and producer Mike Bosner. Brandy and
Mike will discuss their roles in creating the original musical Shucked,
(00:26):
part of our Willis Broadway series. These podcasts are designed
to give you an insider's perspective of the fantastic performances
headed to DMPA stages. Thank you again for joining us,
and now here is my conversation with Brandy Clark and
Mike Bosner. Corn.
Speaker 2 (00:40):
Yes, we said Korn, just as sure as day that
you were born.
Speaker 3 (00:47):
In the evening, it's for suffer and it's great in
the morning.
Speaker 1 (00:50):
No, it ain't our bread that's plattered. No, Brandy, Mike,
thank you so much for joining me today. We're super
excited to be bringing Shucked to Des Moines in its
national tour. I'd love to start by asking both of you,
when people ask you what's the show about, what's your
one or two sentence line that you say.
Speaker 3 (01:08):
About it, well, I mean I always say it's about
Coorn just because that's funny, and people, you know, they
see the big corn cop on the playbill. But I
think it's really you know, I've got to say. When
Mike came on board, he said, the thing that I
think is really what it's about, which is family and
community and love and maybe even loving some people you
(01:28):
don't like, but they're part of your community, so you
watch out for them.
Speaker 2 (01:31):
I always say it's about people coming together, and that
by you know, looking at the people who may be
different than you, maybe you.
Speaker 4 (01:40):
Can get more done together than we can apart.
Speaker 2 (01:43):
And Corn was a metaphor for kind of the world
we're living in. And the show although so funny and
such a good time and it goes down easy and
you can come and have a great time and laugh,
and the music is amazing. It's really kind of prophetic
in how it's talking about the world we live in today.
(02:04):
And it's something that I've been so honored and excited
to see the writers and the team come together and
we're so proud of what it's become, and especially the
time that it has come to Fruition.
Speaker 1 (02:16):
Just to get this out of the way. I think
you both may know this, but the number one state
in the country in terms of corn production is the
state of Iowa. And I have to say, growing up
on a farm here in Iowa many years ago, I
come to shows like this and I think, oh, it
is this going to be bashing farm people and rural people.
I don't think that at all. I think it's a
jumping off point, kind of like you know, the Book
(02:36):
of Mormon mostly takes place in Uganda, but it's not
about Uganda. It's about friends, and like you said, this
show is about family. Corn is just the jumping off point.
Speaker 2 (02:44):
It's so funny that you say Book of Mormon, because
when anyone is looking for like a quick descriptor of
this show, I always jump to It's like Book of
Mormon set in a cornfield, but less raunchy, more wholesome
Book of Mormon, because it had that same level of humor.
Speaker 4 (03:06):
But it, you know, we just it's a little bit
more digestible, a little bit more family friendly. That's great.
Speaker 1 (03:12):
Well, let's talk about the history of this show, because
many of our audience members don't realize how much time
it takes to put together a show like this.
Speaker 3 (03:19):
Yeah, you know, it started for me I think it
was twenty twelve, myself and Shane McAnally, who we wrote
the music and the lyrics. We were contacted that Gay Lord,
which is now Opry. They wanted to musicalize the television
show Hehaw, and Shane and I both had memories of
watching he Haw with our grandparents. I mean they were
(03:41):
very early memories, like barely barely remember them, but we
did have them, and so that intrigued both of us,
and so we met with Robert Horn, who was writing
the book for the Hehaw Musical, and he chose us
and gave us an outline and we just started writing it.
And you know, we found out pretty quickly that Hehaw
(04:02):
was not going to fly on Broadway our very first reading.
In fact, we had three songs that had been in
the television show that they wanted us to work in.
That went away right away, and it was decided that
it needed to be a linear story, and so we
started working on that and then it became Moonshine that
Hehaw Musical. We worked on it for a couple of years.
It opened in Dallas I think twenty sixteen ish got
(04:25):
very mixed reviews and sort of died. And then Robert
won a Tony for TUTSI and started to get interest
and wanted to bring this show back up and had
some interest in with some producers. And then Shane said, well,
if we're going to talk about this again, I feel
like there's a guy I know, Mike Bosner. We should
(04:47):
give him a shot at it. And then Mike came.
Speaker 2 (04:49):
In, Well, and it's so funny to hear and we
talk about the genesis of the show all the time
and the Hehaw of it all or the not Hehaw
of it all. And I remember hearing about this, you know,
Hehaw was coming to this stage and I just, you know,
I'm not actually a jealous person by nature. This business
has been really good to me. But I remember hearing
about this show and I'm like, man, that is such
(05:11):
a good idea for a musical. And one of my
first questions was I got to know Brandy Shadan Robert
was why did you guys get away from Hehaw? And
then it just became very clear that the show had
kind of moved beyond what he saw was and so
that it was a very clear path of like, oh,
this is actually not he haw at all, but I
(05:32):
always loved that idea. I told you exactly what the
show was going to be, good, beat, or and different,
and really the reason that I jumped in more so
than anything else before anything. It's like, I'm from the Midwest,
I'm from Saint Louis born and bred, and I'm a
huge country music fan and the idea of celebrating country
music on Broadway with the two best country songwriters was
(05:56):
just thrilling to me.
Speaker 4 (05:57):
And that's where it started for me.
Speaker 1 (05:59):
That's great. I remember hearing about this many many years ago,
probably as you said, Brandy twenty twelve, thinking wow, because
I watched it as a kid too, and I was
just like, oh, this is a cool idea. Brandy, tell
us a little bit about you. And Shane wrote all
of the music and lyrics for this show, right. Was
there anything that you had that you'd written prior to
(06:21):
this or was it all for this show?
Speaker 3 (06:23):
It was all for this show. There were a couple
songs from that first version, but most of it was
written once Jack O'Brien came on board to direct. He
was really smart and that he didn't tell us we
were going to have to basically write a whole new score.
He just did it a song at a time. So yeah,
so it was all all original, and you know we're
(06:47):
still I feel like we're still writing songs for it.
Speaker 1 (06:49):
Really well yeah.
Speaker 3 (06:50):
I mean, somebody will get a wild hair that we
need a different.
Speaker 4 (06:52):
Song somewhere, and so.
Speaker 3 (06:54):
We'll write a new song.
Speaker 2 (06:57):
I will say, to the credit of Randy and Shane
and Robert and the whole team really that even after Broadway,
there were a couple moments.
Speaker 4 (07:05):
That we all thought we could do better.
Speaker 2 (07:07):
And you know, there's a new song that opened the
second act right now, and we kept working so that
we wanted to not only put our best foot forward
for the tour and make sure that audiences like yours
and the Moine we're seeing the best version of the show,
but also that the actors who are coming in really
felt like they were getting the full process with the
(07:27):
real team and that they could learn.
Speaker 4 (07:29):
It and make it their own.
Speaker 1 (07:31):
Well, you have two collaborators that are well honored. You
mentioned Robert Horn and Jack O'Brien. I've you know Jack,
I just I'm so tickled by him.
Speaker 4 (07:43):
I don't know him.
Speaker 1 (07:44):
Well, we've met a couple of times over the years. Gosh,
he's just he's so funny. Am I accurate when I
say that?
Speaker 3 (07:51):
I mean, is he like, Oh, he's hilarious. I mean
there are things I can't say on this podcast that
he has said that are so funny. But you know,
I think more than even funny. Jack to me is
like I would put Jack up against any of the
great sports coaches, Nick Saban. You know, Jack is a
(08:12):
great coach. He knows how to bring a team together,
he knows how to get people to play well together,
he knows how to motivate. I mean, he's he is
a special soul. I think we're all so lucky that
we were all lucky that we have all of each other.
We're really lucky we had someone like Jack who has
so much experience with hits and misses. I mean, he
(08:34):
talked a lot about the things that didn't work, and
I think that helped us along the way.
Speaker 1 (08:39):
What I loved about the show when I saw it
was that the songs integrate so well with the humor
of the show that had to be challenging.
Speaker 4 (08:48):
Tell us about that, Oh.
Speaker 3 (08:50):
Well, that's such a nice compliment. The three of us
always wanted it to feel like it was written from
one voice.
Speaker 4 (08:56):
And I have to give.
Speaker 3 (08:57):
Robert Horne a lot of credit for that. He really
shamed and I had never written a musical, and he
really went through it with us, and he would sit
in the room when we would write songs, and especially
book songs, which are songs where you have dialogue in
the middle of a song you might have seen and
then come back to the song, and he really really
helped us. He let us steal from his book. I
(09:19):
mean he the independently Owned, which was a big number
for Lulu in the show, that was taken right out
of his text. So he was just great that way
to let us do that. And so I think a
lot of that credit does go to Robert for setting
that comedic tone, and then Shane and I just picked
up on it.
Speaker 1 (09:38):
What are your favorite moments in the show? You have
a favorite moment that you can talk about without giving
away too much about it.
Speaker 4 (09:45):
Well, I can go first.
Speaker 2 (09:46):
My favorite moment of the show is maybe Love, which
is a ballad that happens at the end of the
first act, and it's.
Speaker 4 (09:55):
The moment really where everything kind of changes for our
herald when in our leading lady and.
Speaker 2 (10:01):
She's really questioning everything that she thought she knew.
Speaker 4 (10:06):
She's coming into her own as a person.
Speaker 2 (10:10):
And I'm such a fan of Brandy and Shane's and
Roberts and everyone on the team, and I tell Brandy
this all the time, but I constantly will listen to
the original demo that Brandy did of that song and
her just playing it on the guitar and singing it.
Speaker 4 (10:28):
It's just her.
Speaker 2 (10:28):
It's on a little iPhone recording and it just cuts
straight to the heart. I think it actually encapsulates what
the show is in the best possible way.
Speaker 4 (10:39):
It's not funny, but it's one of those moments.
Speaker 2 (10:42):
That for the show what we do so well is
we bang you over the head and almost beat you
into submission with comedy, and it's just so funny, and
just when you're at the breaking point of I cannot
laugh anymore, you kind of sink into these soul songs
and again profound lyrics.
Speaker 4 (11:04):
That really just take you to a new place.
Speaker 2 (11:07):
And I cannot think of a better moment of this
show than maybe Love. Every time I hear it, it
makes the hair on the back of my next standout.
Speaker 3 (11:15):
That's probably my favorite song in the show. So it's
hard for me to choose something else, but I will
say selfishly, my favorite moment is the opening number Coorn,
and it is really selfish because I'll sit there and there.
The thing I love about this show is, I think
because it's such a team effort between Shane, myself and
(11:37):
Robert Jack, Sarah o'gleivi ar choreographer, Jason Hallan our music director,
and then the cast, I forget that I did it.
And when I see that opening number, I will literally
get so lost in it and just be loving it,
and then I'll think, oh, wow, we did this. Like
(11:59):
I remember when Jack said I want an opening number
that's just a celebration of corn, and Shane and I
went outside and started working on this song called Corn,
and it's so much bigger than it was that day
that I forget that that's where it started.
Speaker 1 (12:14):
Well, I remember distinctly when I saw the show that
song right away drew me. And it was funny, it
was clever, it was choreographed beautifully. It's just it's a
great opening number, so congress.
Speaker 4 (12:25):
Well, it kind of smacks you in the face too.
Speaker 2 (12:27):
It does pull you in very quietly and distinctly, but
then it's just this explosion you're kind of sitting there
to an audience member now that we're talking about like,
maybe that is my favorite moment because it's.
Speaker 4 (12:40):
Hard not to just be saying, like what am I
seeing right now? I don't know, but I really kind
of love it well.
Speaker 3 (12:48):
And I have to say another moment. I know you
only asked for one, but is to do it between
Lulu and Maysie friends. That is a moment that we
really all fought for. It would go away, it would
come back, and I feel like it's so important because
it shows this other side of Lulu in particular that
(13:09):
I think, you know, when people would see the show,
Alex Newell would just take the roof off with independently Owned.
And then there's that moment between these two cousins and
friends that really grounds it.
Speaker 1 (13:22):
Anything else you'd like to add about the show.
Speaker 2 (13:24):
Come see it. I promise you will not be disappointed.
It's been amazing to see as we embark around the country,
just to see everybody just have this outpouring of surrender
of love to what's going on on those stages. And
I am pretty confident that everyone in Desmuno Field the
same I'll tell you.
Speaker 3 (13:44):
What my brother said that I always hang on to.
He said, if you love to laugh, it's your show.
If you don't love to laugh, I don't know what's
wrong with you.
Speaker 2 (13:54):
I love that.
Speaker 1 (14:25):
We appreciate you joining us for this special conversation. The
d m p A Conversations podcast is produced by Andrew Downs.
To our donors and season ticket holders, thank you for
providing the foundation for great performances and educational opportunities at
the Win Performing Arts. Visit d m p A dot
org or wherever you get podcasts for future conversations like
this one.
Speaker 4 (14:44):
Thank you for listening.
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