November 6, 2024 • 60 mins
Welcome back for part 2 with Broadway Actor Josh Lamon as he takes us on a hilarious and insightful journey through the highs and lows of live theater. From a comical rivalry with Adam Lambert in a children's production to the chaos of working with real animals in shows like Big River and Finding Neverland, Josh shares unforgettable moments that capture the unpredictable magic of the stage. With whimsical stories, Josh's tales promise laughter and a glimpse into the unique challenges of live theater.
Josh opens up about the complicated relationship between social media and theater careers, discussing how this double-edged sword impacts mental health and creates pressure for actors to maintain an online presence. From positive reviews doing A New Brain, he shares the validation and confidence it provided during a difficult period. We also explore the evolution of auditions, spotlighting the shift to self-taping—a process that has democratized access while also fostering a sense of isolation among actors.
Audition stories brim with excitement and unpredictability, as Josh recounts awkward monkey mimics and memorable encounters with Tony Danza. These anecdotes underscore the resilience required in showbiz, echoing the sentiment that consistently presenting oneself as a "fierce option" is as critical as landing roles. The conversation wraps with reflections on the importance of relationships over career victories, emphasizing staying grounded and adaptable amidst the whirlwind of showbiz. Join us for an engaging episode that celebrates the joy and perseverance behind the curtain.
Check out Josh currently in "Death Becomes Her" at the Lunt Fontanne on Broadway!!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Nicole Kelly (00:00):
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So I hope you enjoyed thatfirst half of Josh's interview
(00:40):
and love him just as much as Ido.
As I mentioned, we had so muchto talk about that we have a
two-parter, so this next episodeis going to be the second part
of Josh's interview.
As I mentioned before, josh iscurrently in previews for the
new musical Death Becomes Her,which I saw on its first preview
night.
It was excellent.
You can check that out online.
Also, be sure to follow Josh onInstagram.
(01:01):
You can take a look at some ofthe old production photos and
get to know him a little bitbetter as well.
So please enjoy Josh's episodepart two.
So you've mentioned a few ofthem.
Do you have any kind of crazythings that have happened on
stage?
I think all actors have.
You know they like.
This happened and it was nutsor something maybe you've seen
happen in a show that you werewatching.
Josh Lamon (01:22):
I would say the craziest thing that happened to
me wasn't on Broadway.
I was in a children's theaterproduction of Big River when I
was a kid and I played TomSawyer, and it was one of those
children's theaters that had amillion kids.
So I wasn't the only Tom Sawyer, as a matter of fact.
Adam Lambert was the other TomSawyer.
Nicole Kelly (01:39):
Yeah, he's also.
Who's also?
Josh Lamon (01:40):
a Jew, who's also a Jew, who's also a Jew.
I grew up with him.
We sang in a temple choirtogether for a moment.
Nicole Kelly (01:46):
I love your like.
Oh yeah.
I can only imagine what AdamLambert, singing in a temple
choir, would sound like.
Josh Lamon (01:52):
Well, what's funny is when he was young, his voice
wasn't that good, and then, whenhe was a high schooler, all of
a sudden he had the best voicein the world and I was so
jealous I could scream, but atthe time, when we were like 13,
he was the other Tom Sawyer, thecharacter.
Tom Sawyer sings a song calledhow About a Hand for the Hog?
(02:14):
And it's very quick, very rapidand, for whatever reason, they
had us holding a real pig as wesang the song.
So it was my.
I think it was my onlyperformance as tom sawyer.
I was not the favorite childhere.
Um was a matinee and I'mholding a pig like a baby pig a
(02:36):
pig, not, I mean, I was 13, ish,14, who knows.
Yeah, it wasn't like a huge pigor anything, but it was a pig, a
holdable pig.
And um, halfway through thesong, the the pig shit my hands.
Am I allowed to say that word?
yes, yes and, uh, I froze and Iblanked on the rest of the song
(03:03):
and the ending of the song,ironically, is Thank you, and I
just skipped to the end.
I just looked at the conductorand was like Thank you.
And I walked off stage justcrying and there's Adam Lambert
giving me the slow clap goingBravo, josh, bravo, crying.
(03:29):
And there's Adam Lambert givingme the like slow clap going,
bravo, josh, bravo.
And I just freaked out and it'sfunny, I think that's what
started like our, our childhood,like riff against each other,
but then we ended up doingWicked together years later, and
like he was lovely understudy,right?
yes, we we'd call it shiero whenadam went on and um, I love
(03:49):
adam so much.
And then adam obviously didamerican idol and is now like
lambert, yeah with with queenyeah, I'm so happy for him.
He's a.
Nicole Kelly (03:58):
He's a incredible human there's someone that we
know that did, was it?
She did Gypsy?
Or what show at Tuacon?
Oh no, it was some show, Was itGypsy?
And they used a real lamb for alittle lamb.
Yes, that was my production,but Tuacon contracts are like
(04:18):
five months, so the little lambgrew and by the end it was like
this giant lamb and she'ssinging little lamb to like this
full grown lamb.
Josh Lamon (04:28):
Yeah or sheep.
Nicole Kelly (04:29):
I guess it would be Sheep.
It would be, at that point,little sheep.
Josh Lamon (04:34):
That's hilarious.
Nicole Kelly (04:35):
Animals on stage are not a good idea.
Josh Lamon (04:37):
No.
Nicole Kelly (04:38):
I love dogs and I love shows with dogs, but the
part of the problem is you neverwork with dogs and children
because they pull focus, becauseyou don't know what they're
going to do.
So as an as an adult, you don'twant to be on stage with
animals or children because,like when bruiser comes on and
legally blonde, you're likewhat's the dog gonna do?
And then I feel like you justneed to limit your time with the
animals, because there's, Imean even the most trained
(05:00):
animals are could beunpredictable though those
animals are trained within likean inch of their life.
Josh Lamon (05:05):
Most of the time, the dogs that they use for
Finding Neverland were nottrained.
They came from an animalsanctuary and it was their first
time on stage.
Harvey Weinstein, the headproducer of the show, didn't
want to pay for the big Bill.
Whatever his name is, who does?
Nicole Kelly (05:22):
Bill Berloni, yeah , who does all the Broadway
animals and he gets rescue dogsbut he actually trains them.
Josh Lamon (05:28):
Yeah Well, this company, poor Diane, would be
sitting in the house during techwith a god mic and Bambi was
the dog's trainer and she'd belike Bambi, Bambi, can you get
the dog to look at Matthew andplay the lead?
And Bambi, bambi, can you getthe dog to look at Matthew, play
the lead?
And Bambi would come out onstage and be like no, he's a dog
(05:49):
, he's a dog, I can't do that,he's a dog.
And then, like she would haveus, like hold meat in our hands
to get the dog to do things, orlike come with us and like when
your hand smells like meat forweeks on end and you're like I'm
(06:10):
going to die alone.
People are like you're so luckyyou're on Broadway and I'm like,
yeah, and I smell like beef.
Nicole Kelly (06:16):
Hi ho, the glamorous Broadway is not
glamorous.
No, it's not.
I feel like people think it'ssuper glamorous.
It is a lot of work with meatspelling hands.
Josh Lamon (06:25):
Yeah, and you're carrying meat in your pocket
Beef.
Nicole Kelly (06:37):
Hoping that a dog that's not trained will do what
it's supposed to do.
I love the dogs in the shows.
When I was in London with mymom and sister, we went and saw
Lady Day.
It was actually AudraMcDonald's last performance.
Josh Lamon (06:45):
Oh, she's so good.
Nicole Kelly (06:46):
And we were at a pub across the street before the
show and the dog handler walkedout with like three chihuahuas
and I was like I'm going tofollow the dogs my mom's like
what is wrong with you?
I was like I want to follow, Iwant to go see the dogs.
Yes, because that that show wasso fancy it had understudy dogs
.
That's when you know you havemade it.
And it's also funny because Ihaven't done a show with dogs
(07:09):
but Patrick has.
He's like the dog has a betterresume than me because they're
so specific.
But the best thing to do is, ifyou're an actor is to be a
handler, because then they wantthe dog and they have to give
you a contract as well.
So that's where the real moneyis yeah.
They contract as well.
So like that's where the realmoney is.
Yeah, is they?
They pay more for the dog, um,than for you.
Kind of going back to what wewere talking about, like with
swings, you've also been theunderstudy in several shows.
(07:31):
Can you kind of talk aboutexactly what that means and what
the experience of being anunderstudy on broadway is like?
Josh Lamon (07:37):
sure, when you're an understudy on broadway, that
experience means you're gonnahave a doctor who gives you a
prescription for lorazepam soyou can calm down.
Often You're going to have arestaurant in Midtown that knows
what you drink.
It's wonderful.
It's also terrifying, at leastthe first few times that you go
(08:01):
on.
You also might not go on.
You never know.
Dep depends on who you'reunderstudying.
But, um, it's tough becauseyou're doing eight shows a week
and then thursday and fridayyou're also at the theater
rehearsing all day.
Um, but then when you go on,it's, it's magical.
The first time is alwaysmagical because everybody is
(08:23):
supporting you.
The third time not so much.
Everybody's used to it.
Then they're like this guyusually sticks out his right
hand and not his left, can youdo that please?
And it's like, oh, yeah, sure,okay.
But it's also exciting.
(08:46):
When I understudied Brooks inthe prom, it was fun because I
was a principal role in the show, but I was also the leads
understudy and so it was trickybecause sometimes on stage I
would watch him when I'm stilldoing my job and doing the scene
, but really I'm focusing onwhat he's doing because I can't
watch the show.
So this is my opportunity tolearn.
And then there was a momentwhere I was sitting backstage at
(09:06):
intermission.
I always sat in this quickchange booth because the
Longacre Theater, there'snowhere to go and I would read
my book, like in the middle ofall these costumes, and the
stage manager, glenn, ran in andhe was like you're on for
Brooks at intermission.
I was like shut up and he wentno, no, no, no, no, you're on
for Brooks.
And literally I was like okay,bring my costumes down here and
(09:32):
bring my lorazepam.
And they did.
And, um, I had to go on stagefor the genius Brooks Ashmanakis
at intermission and when theythey announced it, you could
hear the audience be like oh youknow, which is fine, I get it
(09:52):
and, um, I think, just to puttheir minds at ease, the first
thing that I did when I went onstage the character was emma,
who I was supposed to talk to,and I was like emma, it's me, I
know I look different and uh,the audience, like, was then on
my side and they erupted inapplause and it worked out.
But uh, yeah, being anunderstudy is fun, rewarding and
(10:15):
stressful it's.
Nicole Kelly (10:18):
I I've never understudied, but I feel like
it's so different from being aswing because, like you said,
you can't watch.
So stress, stress We've talkeda little bit about this
personally and a little bit inthe interview that social media
has become such an importanttool for actors and this is not
(10:38):
something that existed wheneither of us started performing.
So what are some of thechallenges of being a
professional actor in such asocial media-forward world?
Started performing, so what aresome of the challenges of being
a professional actor in such asocial media forward world?
Because I know there's someproducers that want, like, a
specific social media followingin order to hire you, which is
bananas to me because, you'renot the producer.
It's not your job to promote theshow.
Josh Lamon (10:58):
I think there's a little bit less of that now,
which is good, because I thinkpeople have learned that just
because you have a following,that doesn't mean that you're
gonna sell tickets yeah likethere was this big surge and
like, oh, we gotta hire a tiktokstar or something and it's like
great and the show floppedbecause a tiktok following
you're talking about like theyhave a bunch of 13 year old fans
(11:20):
from all over the world.
Nicole Kelly (11:21):
13 year olds don't have money to buy broadway
tickets, period um most peopledon't have money to buy broadway
tickets, definitely not 13 yearold, same um, but it's, I think
, for me and my journey.
Josh Lamon (11:33):
It's a little complicated because I really
don't like social media.
It makes me uncomfortable.
I post when I have to.
I I also feel weird.
Posting I don't too.
I also feel weird posting.
Nicole Kelly (11:49):
I don't want people who aren't working to
feel bad.
If I'm working, that's a realthing.
Because sometimes when I'mdepressed, I'll look on the kind
of search for Instagram and it,just because of the algorithms,
will be like all these peopleand wicked and I just will like
it makes it's a real thing.
I feel it.
Josh Lamon (12:03):
You know, when you're not working and you see
people working, you're kind oflike yeah, also, what you're
seeing is the glamorous sideyou're seeing if it's like one
of those stupid tiktok reels oflike this is my day for a
two-show day and it's likeeverything looks so perfect, but
really it's not, no, andthey're not showing how how many
auditions they didn't get toget this show.
Nicole Kelly (12:25):
Yeah.
Josh Lamon (12:26):
But also the people that post themselves like here
are my you know self-tapebloopers.
I'm just like, so you'rebragging about all the jobs
you're not getting online, likethat's how it makes me feel.
I just social media just rubsme the wrong way.
Nicole Kelly (12:41):
Yeah.
Josh Lamon (12:41):
And I wish I wasn't sort of addicted to it.
It's a problem because and itand it.
Nicole Kelly (12:47):
Like you know, talking about mental health of
actors in general, it's hardenough when you know back in the
day would find out through thegrapevine someone got a role
that you didn't.
But now you're not only seeingthat, but people you don't know
and you're, you know you'recomparing yourself to everybody,
which is an actor's favoritepastime and it's so hard, but
(13:07):
it's become such an importantpart of performing and I think
just being a professional ingeneral doesn't matter.
Whether you're like a sextherapist or an actor like you
need to have some sort offollowing in order to yeah, do
everything and advertising isimportant and I use that.
Josh Lamon (13:21):
But um the older I get, the less I post, also the
less like personal stuff yeahsort of post.
Um, you know?
Um, oh, thank you, patrick,he's bringing me water.
Um, yeah, so, but social media,it is important, but I think
it's also important to um knowwhat you're posting and to be
(13:44):
sensitive towards other people.
And it's great to be like, hey,I'm doing this show, but, um,
you don't need to constantlylike.
I think some people thatbecomes their self-worth yeah,
well, that makes sense.
Nicole Kelly (13:57):
So, speaking of self-work, you're one of the few
people who actually got apositive review from ben
brantleyley, because he's kindof known for like pooping on
anything, even good things, hedoesn't like.
How did that feel?
That was amazing.
Josh Lamon (14:11):
Are you kidding me?
That was just like.
I forget exactly what he said,but it was.
I think it was for A New Brainat City Center, which I also saw
oh, it was one of the bestexperiences ever and for like to
get that sort of validation.
At that time I was working forharvey weinstein.
(14:32):
You do not get that kind ofvalidation from from that man.
No, and um, he wasn't evengonna let me go do a new brain.
I had to.
I basically quit fighting,neverland.
I said, said fine, here's mynotice.
And then they came back andwe're like, okay, you can go do
that, but then come back.
You know, but that was how Iwas being treated.
And then all of a sudden, benBrantley is liking me Like it's
(14:58):
nuts.
It's wild.
I'll never get over it.
Nicole Kelly (15:00):
I love that you got a positive review from.
Like the most harsh critic inprobably the.
There will never be a BenBrantley theater.
He's not beloved in the NewYork City theater community.
Josh Lamon (15:15):
I didn't say that that was Nicole.
It's fine.
If I never work ever again asan actor, which I'm not, and
it's all because of that, whichI'm not even like actively
pursuing right now I owe moneyto equity, so I couldn't even
audition.
I think I owe money to equity.
I think everybody owes money toequity.
Nicole Kelly (15:31):
It's like a $1,200 , $1,400 initiation fee and
they're like give us this muchmoney every so often and it's
like, guys, we're not working.
Josh Lamon (15:40):
There's 2% of the union working at one time.
Nicole Kelly (15:42):
Like calm down.
So, speaking of working, you'vealso done a lot of film and TV
work.
So for those of us listening,for those of us listening that
have never, that are not actors,what's the difference really
between film and theaterauditions?
Josh Lamon (15:59):
Oh well, I mean it's changed also.
It's changed drastically.
It used to be you would go intoa casting office and do it with
a casting director.
They'd give you feedback, You'ddo it a couple times and that
was the day.
And what was awful about that?
Let's say you had two or threeauditions that day.
One of them is for a CEO typeand the next one is for a
(16:19):
bohemian type CEO type and thenext one is for, like a bohemian
type, to walk around the citycarrying all your stuff
three-piece suit, you know, adirty scarf for the bohemian,
whatever, and finding a place tochange it was a nightmare.
Now it's all self-tapes, meaningthat you have to do them at
home, which has its benefits,and also is very lonely because
(16:43):
you're not getting feedback.
It feels sometimes like you'resending them out into the ether
and not getting a response.
But also there are bonuses Alot more people, auditions are
much more accessible because ofself-tapes for many groups of
people, which is wonderful, um,but so that's really.
(17:06):
I mean also it's just moresubtle.
You know, theater has atheatricality to it.
Where film they don't want towatch you acting, they want to
watch somebody being yeah andthat is a talent and it is very
difficult and some people arevery natural and terrific at it
and other people are not.
I would say it is probably myfavorite medium.
(17:29):
I love working in film and TV.
I think it's so much easier.
The money is much better.
Nicole Kelly (17:36):
Yes.
Josh Lamon (17:37):
The hours suck.
But you're also like.
I work a lot in comedy, andwhat's hard about doing a
long-running show on Broadwaywhen you're trying to make the
same joke land for the 500thtime, that's hard.
When you just film it for a day, like you're done, you never
(17:59):
have to worry about it again,and so I think that's sort of
what I love about it.
Nicole Kelly (18:03):
They're different mediums.
I've seen people who have wonAcademy Awards on stage and it's
not happening.
Yeah, so I think you know beinglike you said, they're so, so
different.
Do you find because we talked alot about some of the shows you
didn't haven't talked about,you know you've done more than
we've talked about Do you findthere's a downside to being a
(18:23):
more well-known performer withinthe Broadway community?
Josh Lamon (18:27):
Well, it's that's interesting.
I don't necessarily feel likewell-known outside of you know,
the theater community, I guess.
But it's there's positives andthere's negatives.
Sometimes it's like, oh, I feelon top of the world, I know
I've inspired people or I don'thave to audition for this, I'm
(18:47):
just being asked to be a part ofit.
And then there are other timeswhen it's like, especially with
the pandemic, which was just sobrutal for everybody, but I
think specifically for theaterworkers, for everybody, but I
think specifically for theaterworkers where you're like, oh, I
haven't worked in a while and Ifeel like I'm being forgotten,
or I feel like people think thatI'm failing, or you know, it's
(19:12):
really just, it's easy to beatyourself up emotionally speaking
.
Easy to beat yourself upemotionally speaking.
Or like, oh, I played principalroles, now I'm doing ensemble
again and do people look down onme for that?
And the sad thing is that, yeah, there are going to be some
jerks who do treat you or talkabout you differently, and there
(19:35):
are going to be some.
The majority of people are verykind and they get it Like a job
is a job I was doing one of myfirst jobs out of the pandemic
theater-wise was in the ensembleof Dear World at Encores and
this show fan I forget his namebut he's a lovely old man and I
know he meant well but he waitedfor me at the Sage store before
(19:58):
the show and was like I justwant you to know that this is
beneath you.
And I know that he meant well.
But it really hurt my feelingsand I was like it's beneath me
to have a job, it's beneath meto to what?
Like I'm lucky to be here, I'mlucky to be in this caliber of a
(20:19):
show.
Yes, I'm not doing much, but amI making a living?
Am I able to pay my bills thismonth?
Am I able to get insurance,weeks after losing my insurance
twice during the pandemic?
So it is not beneath me, butyou know.
Like it is not beneath me, butyou know, like it just it really
(20:43):
hurt to hear that.
So I think that's sort of thedownside is people just don't
get it.
They don't get how hard it is.
They don't get that there is nodirect path.
There is no book that's goingto teach you all.
It is random, it is luck, it istalent meets, opportunity meets
.
You know, who knows what Dothey like you?
Is your hair the right color.
(21:04):
You know, you just do not know.
Nicole Kelly (21:06):
It comes down to a lot of arbitrary things.
You know, I think my story Italk about a lot is there was a
director who didn't like thedress I wore the first time he
saw me at an audition and thatwas the end of that.
I hate that person.
Well, he's dead.
Josh Lamon (21:22):
So he saw me at an audition, and that was the end
of that.
I hate that person.
Well, he's dead.
God hated them too.
You can cut this, patrick.
Nicole Kelly (21:26):
No, leave it, Let the people know.
Josh Lamon (21:36):
God took Yom Kippur seriously that year.
Nicole Kelly (21:38):
He was like you are not.
Josh Lamon (21:40):
What did you say about that dress?
No book of life for you it wasa cute dress I bet it was?
Nicole Kelly (21:45):
It was turquoise.
What advice would you have forsomeone who's interested in a
career as a Broadway performer?
Josh Lamon (21:52):
Oh, this answer has changed so many times over my
life.
I feel like people really wantme to say, like, just go for it,
shoot for the moon, you know,and yes, but honestly, like in
my 40s, the reality is is thereanything else that you want to
do?
Nicole Kelly (22:06):
And this is something I hear often from a
lot of people If you can seeyourself doing anything else, do
that.
Josh Lamon (22:12):
Do it there is if you're doing this for a living,
there has to be an insane drivewithin you where this is the
only option period, becauseotherwise it just is not worth
it.
You go through so muchrejection, so much pain, you are
(22:33):
so poor all the time, and evenwhen you're working like yes,
yes, people go wow, you're onBroadway, you're making this
much money, and it's like forsix months.
So what I'm doing in that sixmonths is saving money to make
the rest of my life a littleless miserable, you know.
So that's what I mean.
(22:53):
If you, you can still dotheater.
If you're not a professional,you can still perform everywhere
.
There are so many performanceopportunities.
You don't have to make thisyour life If you want it, if
it's just there are no otheroptions.
And I relate to that becausethat's how I was take as many
(23:16):
classes as you can, as manyclasses as you can.
Find your community, because weare often told that these
people are our competition.
But no, we are only atcompetition with ourselves,
because us getting the job isnot in our control.
What's in our control isshowing up, prepared, passionate
(23:37):
and present.
Everything else is not in ourcontrol.
So up, prepared, passionate andpresent.
Everything else is not in ourcontrol, so that is your success
.
But, honestly, take as manyclasses as you can, meet as many
casting people as you can.
You're going to spend a lot ofmoney on these classes.
Nicole Kelly (23:52):
It's so expensive it's so expensive.
Josh Lamon (23:54):
But if this is truly your journey, really just take
as many classes as you can, beopen, be strong, find your
community and really practiceself love and, um, also like
even even for us big girls likeyou know, move your body, get,
(24:18):
get you know, work out and stuffbecause you can be big on
broadway.
But it's, it's not easy it'sphysically, it's very physical.
Nicole Kelly (24:24):
Yeah, so can you talk a little bit about your
current project and how you gotinvolved with that?
Yeah, I'm very excited me too.
Josh Lamon (24:32):
It's, uh, one of my favorite movies.
Come to screen, death becomesher the musical and it's
starring, uh, my, my loved ones,jen samard, megan helty and
christopher uh, christophersieber, I almost said fitzgerald
, sorry different christopheryeah, and it was funny.
I uh started.
I got an offer for the for thefirst reading and initially I
(24:57):
was like I don't want to doensemble, I think I'm going to
say no.
But then I looked at the teamagain and I was like, actually,
I'm obsessed with this film.
Like, yeah, yeah, I want to dothis.
And I did it.
And that led to a much more, amuch bigger version of the
reading where, like, you had aband, you had the fancy mics, it
(25:18):
was huge and it was also socool because it was so hush hush
and everybody that I knew inthe industry was trying to get
in to see these presentations.
And the fact that, like, myagents couldn't even get in was
like, oh, this is, this is cool.
And then I had to audition togo further with it, which meant
(25:39):
going to dance calls and at thetime I was working on
development for the La La Landmusical and trying to get them
being like Hi, I know that wehave 29 hours to do this, but I
need to go away for five hoursto go dance and sing.
Oh, and now they want me tocome back tomorrow, is that okay
?
And hoping that it worked out.
(26:02):
And I wanted it so badly and Iwas very lucky and I got it.
And then the workshop was adream come true.
I love this cast, I love thecreative team, but it was also
hard.
There's dancing and there weremoments of dancing that were out
of my, I guess, out of my levelof expertise, and I literally
(26:26):
went to the associatechoreographer and I was like,
hey, this dance move I can't do.
I'm trying and I will getbetter at it, but I just want
you to know.
And they were very like thankyou for saying that, we
appreciate that.
But then after that that, therewas the wait to see who was
going with it to Chicago and noteverybody got accepted and we
(26:48):
waited for a long time.
I want to say we waited forlike two, three weeks and that
was they.
They held another round ofauditions and saw everybody in
New York, and so there's thatfeeling of like it is us.
But now they're searchingeverybody, searching under every
(27:09):
rock, every stone, scraping thebottom of every barrel, just to
make sure that it really is usbefore they spend the money on
it.
And yeah, but it's a dream cometrue, the show is fantastic,
it's so funny.
Plus, like Megan Hilty andJennifer Samard on stage
(27:30):
together.
It's just two geniuses on stage.
Like you can't do better thanthat.
It's really amazing.
Nicole Kelly (27:41):
Okay, so I want to know about a crazy audition
story.
We all have a crazy auditionstory, like a terrible audition
or crazy good audition.
Like mine is they were doing aproduction of 42nd Street out
near in LA where my parentslived, and I'm not a tap dancer
but the director, john Engstrom,who was in the original cast of
(28:03):
42nd Street, was my tap teacher, so he knew me and I was like I
just have to get through thistap combo and I'll be fine.
And I did good on the tap comboand then they had everybody
come in to sing and I was soexcited that I got through the
tap combo.
I blew the singing part, whichis not my thing, and I didn't
get it, but I ended up gettingthat fiddler I talked about so
it worked out.
It worked out fine, but I lovepeople's like crazy audition
(28:25):
stories because everyone has onesure I mean yes, yes, there
there happen crazy stories.
Josh Lamon (28:34):
I guess the one of them for me or one of two was
the first one is disney wastrying to see if they could put
the jungle book and make thatinto a big show they would have
had to do like a lion king thingwho knows, but they were doing
it in chicago and I went in forking louis they're like and, but
it was very strange.
I think m to be like you, but itwas very strange.
(28:57):
I think Mary Zimmerman wasdirecting, it was very abstract
and they had us reading allthese weird poems from the book
or whatever.
And I'm waiting to go in andthe casting director comes out
and she goes hey, are you readyto go?
And I was just like yeah, yeah,she was like okay, um, walk in
like a monkey.
(29:17):
This is josh flamin, everybody.
And I was just like what, okay?
And though you can't see melistening audience at home, I
just awkwardly like walked in,like what I thought a monkey
would with an embarrassed lookon my face.
Another similar thing was I wentin for Honeymoon in Vegas to
(29:38):
replace somebody.
It ran long enough that theyhad to erase once.
Oh no, this was from theirout-of-town at Paper Mill.
Nicole Kelly (29:45):
Oh, okay, I was like it didn't run long enough
for them to replace people.
No, they had a very short runsadly.
To be fair, there was a songabout skin cancer.
Josh Lamon (29:53):
Was there.
I don't remember that.
Nicole Kelly (29:55):
Because the whole premise is that oh right, I
remember that.
That the leading lady lookslike his wife who died.
And he sings a song about howhe should have gotten her out of
the sun.
Yeah Right, so there's a songabout skin cancer.
Josh Lamon (30:09):
As there is in every great musical, of course.
But I was going in to play liketony danza's sidekick or
something, and it was highstakes.
They were looking for somebody.
Immediately there were like 50people in the room watching you
and um casting comes out andthey're like, hey, are you, are
you ready to come in?
And I was just like, yeah, yeah, I think sony is great.
(30:31):
Um, uh, you're reading withTony Danza.
This is Josh Lehman, everybodyand Tony Danza is like, hey,
he's this wild energy that Iwasn't prepared for.
Nobody told me that I was goingto be reading with Tony Danza
and I absolutely failed.
And then, uh, they had me dothe song and he was behind
(30:56):
everybody in the room likemaking wild gestures at me, like
trying to like make me I don'tknow hype me up or something,
and it was so distracting and Ijust failed and I just wanted to
ask for my resume back.
Nicole Kelly (31:09):
Those are expensive.
Man Headshots are expensive,girl Headshots are expensive and
actors are poor.
I know it's like $100 for like25 of them or something obscene.
Josh Lamon (31:19):
Yeah, but those were sort of like the crazy.
Those were sort of the crazyauditions of just like being put
in an awkward situation all ofa sudden.
Nicole Kelly (31:30):
I had something similar happen to me.
They were doing a production ofRobber Bridegroom in LA and
they were like, pretend you're abird.
And I'm like what the fuck?
No, you pretend you're a bird.
You pretend you're a bird Jerk.
And I've heard of directors aswell, who will ask for weird
things in the room just to seeif you do them or will listen to
(31:51):
them yeah.
And that's kind of like a mindplay game that I don't think is
necessary.
Josh Lamon (31:55):
It is, and I agree for the recent for the who's
Tommy revival that's coming in.
I was auditioning for for uncleErnie a bunch, and uh, the
director does, who I think isbrilliant.
I've never worked with himbefore.
He was like no, at the end ofthe song, uh the song, uh, you
(32:17):
know what happens, is he?
Uh, he's so disgusted withhimself that he runs outside and
he throws up and then he takesa giant chug of you know out of
his flask and all this stuff.
And so I finished the song andfor those of you who don't know
the who's tommy, uncle ernie isdoes something terrible to tommy
, um, and so I finished the songand there's silence in the room
and so I was like, oh I betterdo what he wants.
(32:40):
And so I pretended to like gothrow up and then drink heavily
and like I did this, like Idon't know like three minute,
like silent scene with myself asthey watched, and then more
silence and he goes.
You know, in my entire careernobody's ever, you know, done
(33:02):
what I've told them would happenafter.
So thank you for for showing uswhat that would look like.
And I was like, oh so, I wasn'tsupposed to, you were all just
being silent that's so weirdyeah, so strange.
Auditioning itself is so weird.
Nicole Kelly (33:13):
It's such an unnatural thing, it's awful.
It's, and there's these weirdrules that so strange.
Auditioning itself is so weird.
It's such an unnatural thing,it's awful, and there's these
weird rules that you're justsupposed to know.
You know, it's just not natural.
Josh Lamon (33:23):
No.
Nicole Kelly (33:23):
It's not a natural thing, it's bizarre.
And I feel like I'm such anover-preparer that if I don't
over-prepare that I don't I getin my head.
Josh Lamon (33:39):
And don't I get in my head.
And then they ask you to doother stuff and I'm like, but I
didn't prepare for this.
I'm the same way though.
I'm like, okay, I'm going torehearse it.
As if the reader is on theright side of the room now, on
the left side of the room, nowthey're up with me now.
Nicole Kelly (33:43):
I'm looking at them like, yeah, I, yeah, I do
everything that I can we talkeda little bit about rejection and
, um, kind of the difficulty ofthat.
Do you have any advice forsomeone who's facing a lot of
rejection but is not quite atthat point where they're?
And I love these stories thatyou told.
I feel like I hear a lot ofpeople who are like I'm gonna
(34:04):
quit, and then they end upgetting their role.
But a lot of people.
Myself, I struggle with this.
I think a lot of actors do.
What would be your advice tosomebody about how to deal with
rejection?
Josh Lamon (34:16):
Be so kind to yourself Because, honestly, like
it really has nothing to dowith you.
If they want you, they want you.
If they want somebody else,they want somebody else.
It's not personal, it's just it.
Maybe it's a look, maybe it'sthey know them, Maybe who knows?
Maybe it's a look, maybe it'sthey know them, maybe who knows.
(34:49):
So, like I said earlier, what Ido a lot of audition coaching
and what I tell people your jobis to give them a fierce option.
That is all your job is is topresent you are being 1000%
successful.
You are being.
You are a successful actor herein the city, because the
results do not equal yoursuccess period.
Nicole Kelly (35:02):
And I feel like also part of your, I've been
told your job as an actor is notto book shows, it's to get
callbacks, it's to get just toit's to let casting know that
every time they bring you in,you are going to give them the
fierce option that is you.
Because casting directors alsothose of you not familiar with
kind of how it works is usuallyyou don't get to the actual
(35:24):
creative team until you've been,you know, okayed by the casting
directors.
So when they okay you they arealso risking their reputation
and trying to bring the bestoptions so that they continue to
get jobs yeah so I mean, it'sthere's just so much.
And I love that you're talkingabout how, it's not you, because
I feel like you know we alsohave to kick into account a lot
(35:44):
of times things are precast andthey're just auditioning because
the union requires it.
It's, there's just so manyvariables but it's still, it's
hard.
It's really hard to be kind toyourself yeah, so it's, it's
still.
Josh Lamon (35:57):
It's hard it you are emotionally and taking care of
yourself, and maybe that meansI'm going to take myself to a
(36:22):
movie today, or like one of myrewards is I don't love fast
food, but McDonald's has thebest Diet Coke in the world.
Nicole Kelly (36:32):
They have their own formula.
Josh Lamon (36:36):
The best diet coke in the world.
Nicole Kelly (36:36):
They have their own formula and sometimes if I'm
feeling like low after anaudition, I'm like I'm gonna get
myself a mcdonald's diet cokeand that is my treat and that is
some self-care in that momentum I've also heard about like
letting it go, and this issomething I'm really bad about,
because I start to likefantasize about doing a show and
I kind of get all on board withit, yeah, and then I can't let
(36:57):
it go.
Josh Lamon (36:57):
Yeah, you have to let it go.
You have to find ways to um,like what I do.
The sides Um, as soon as I'mout of the audition, I throw
them away.
If I have to reprint them, I'lldo it, but I'm not going to
count on it.
That energy is not coming withme anymore.
It is, it is done.
Goodbye.
And onwards and upwards, becauseyou know, what I've learned is,
(37:20):
when I first came into thisindustry, I was a little
obsessed with it.
Every, all of my self worth waswrapped in to when I was
working, and it was like thatfor about 20 years until the
pandemic hit when, all of asudden, all of that was gone and
I was alone in my apartment,feeling worthless.
Um, so that there's so muchmore to life than than our
(37:47):
success at our careers, whetherit's performing, whether it's,
you know, underwater basketweaving or being a lawyer.
What matters are the people inour lives.
And, um, you know, underwaterbasket weaving or being a lawyer
, what matters are the people inour lives.
And you know, I'm very, verylucky to have an incredible
boyfriend that I love with allmy heart, and even when I'm
having those bad career days I'mlike, but you know what I'm not
(38:09):
sharing my life with aproduction of rent or whatever
Like this is who matters to me.
Nicole Kelly (38:17):
And that's one thing I think also about, about
I'm getting closer to the micbecause Patrick yells at me
about this, uh.
I think that's also somethingthat a lot of people don't
realize is.
You talked a little bit aboutbeing sad when a contract ends,
when a show ends.
There's a deep depression andit's kind of a part of your life
.
It's now depression and it'skind of a part of your life.
It's now over and it's notgonna keep you warm at night.
(38:38):
So you know, it's nice to bookshows, it's nice to be doing
them, but at the end of the daythey always end.
So you need those relationshipsyeah is there a show or shows
you've auditioned for that youfeel like you nailed it and you
still kind of like, ah, that'sthe one that got away because
they'll do those things in 54Below.
It's like parts I didn't getand people kind of, I think,
still kind of hold on to some ofthese auditions.
Josh Lamon (38:59):
Eight million of them.
I'm also a psychopath in thesense that sometimes at these
auditions I'm like, well, whoelse are they going to cast?
This is me, this is just me.
And I get into this weirdmindset of like well, if they
don't cast me, they're idiots.
And like there was this jobthat I was up for where I really
felt as like this is me, thereis nobody else who can do this.
(39:22):
And then they cast, thinkingabout the you know, the bigger
guy community, and then theycast this you know Asian twink,
and I was like, oh, that wasn'tme at all.
No, but yeah, you get marriedto the idea of things, but you
just have to learn to let go.
And there are so many rolesthat I wish came my way but or
(39:48):
that I was convinced we're goingto.
I remember auditioning toreplace for one of the managers
in Phantom of the Opera, whichI've been a Phantom fan for, you
know, since I was a kid, andgoing into the audition it was
so cocky.
I was like who else?
This is me.
And I went in and then myfriend, bradley Dean, who got it
(40:10):
, was in, I think right beforeme, and hearing him sing like he
has an opera voice.
I was like, oh shit, it's notme, it's him, and sure enough he
got it.
But there's always going to bethe ones that get away.
Nicole Kelly (40:22):
Do you go in long run?
Because I'm always curiousabout this, because I used to
coach with Ann Nathan and shesaid something like she was up
for Madame Morrible and theperson who got it knew, knew um
joe montana yeah like fromchildhood and I was like, well,
why wouldn't they go back andlike cast you after she left?
if you're the second choice,like why is that something that
(40:44):
doesn't happen?
Like if you don't get it, youdon't get it.
I know I've heard stories aboutpeople being brought back, but
like sometimes, who knows?
Josh Lamon (40:50):
who knows?
I think ann is a genius.
I love her and I'm shocked thatshe hasn't been moreable.
Nicole Kelly (40:55):
I know right Now that you brought it up.
Josh Lamon (40:57):
But you just never know, there have been shows
where I was like for me ChicagoAmos in Chicago.
I was up for it a bunch andthen I was told well, walter,
bobby just didn't really respondto you at the end of the day
where it's like that's fairenough, but I haven't been
called back in since for it, andthat was like 10 years ago.
(41:20):
Now I'm at the point where I'mlike I think I'm a little bit
more appropriate for now, butmaybe that ship has sailed, I
don't know.
So, interesting that the castingprocess is bananas.
Things make very little senseno-transcript.
Nicole Kelly (42:00):
we were talking about being parents and that
happening and someone saidtheater's always going to be
there.
Theater's the kind of thingthat if you take a bit of a
break they're not going to belike, well, where the hell were
you?
For 10 years I've had peopleeven ask me you know, you know
kind of my journey and thingslike that.
So I think it's something youcan always come back to if you
(42:21):
want to.
Josh Lamon (42:22):
Yeah, you know.
Perfect example CourtneyCollins, who played one of the
principals in the prom.
She went to Juilliard, she, herroommate was Laura Linney and
they graduated and all thatstuff.
And then she said you know what, I want to move back to Georgia
and I want to get married andhave a family.
(42:42):
And she did.
And then years, years later,prom goes to Atlanta for the
out-of-town, she auditions as alocal performer, gets cast as
one of the principals and thennext thing you know, and you
know by now her kids are mostlygrown up, she's making her
Broadway debut at 50.
You just never know.
(43:03):
So you know there's no rhyme orreason to anything and anything
is possible at any time.
Nicole Kelly (43:13):
I think that's good advice.
Angela Lansbury was the guestspeaker at my graduation and her
advice was expect theunexpected, because you never
know, kind of where you're goingto end up.
Josh Lamon (43:26):
Yeah, you know, I'd say that is the hardest thing
about show business.
I this is going to sound darkand you know, maybe, know, maybe
, maybe it is.
But it's sort of similar tolike being addicted to a drug.
You're chasing a highconstantly and, um, you could be
(43:48):
so low and then all of a suddennickelodeon calls and they want
to see you for a cartoon, andthen you're like on top of the
world again and then so low.
You know, like it's just, thereare so many highs and lows to
this.
Nicole Kelly (44:03):
I think that a lot of actors also deal with mental
health issues.
Josh Lamon (44:07):
Yes, me too.
Nicole Kelly (44:08):
Well, you have to be crazy to want to do this.
Josh Lamon (44:11):
A little bit Because it's so unpredictable.
Nicole Kelly (44:15):
But yeah, it is very much like a drug, because
being on stage is a high andthen when a show ends, it's like
that deep depression, I don'tknow.
I love that kind of comparison.
I want to jump back tosomething you mentioned earlier
about going to Israel for yourbar mitzvah.
I want to talk about what?
Because, again, we're going tobe two-episoding this.
(44:37):
So I want to talk about whatthat experience was like and if
you've been back since and ifyou'd want to go back.
Josh Lamon (44:43):
Oh, I'd love to go back.
Nicole Kelly (44:44):
Maybe not today.
Josh Lamon (44:45):
Maybe not at this moment, but I would love to go
back.
It was very special, also veryunique, being that young and I
was never very spiritual,especially back then and all of
a sudden you're there and it'sjust.
(45:08):
I remember experiencingemotions that I still can't
describe, where, like you're notspiritual, but then all of a
sudden, you just are.
You just feel a presence thatyou can't fully comprehend, even
as a Jew, like I remember the12 Stations of Christ I think
it's called where you're walkinghis final journey or whatever.
Nicole Kelly (45:27):
Yeah, I've heard about this.
Josh Lamon (45:28):
I remember watching other people that were clearly
Christian or Catholic orwhatever.
Watching other people that wereclearly Christian or Catholic
or whatever, like really goingthrough something and how much
it moved me and being like, nomatter what religion you are,
what you believe, even it allhappened here.
There's something I mean like,even if you, the closest thing
(45:52):
that I could imagine is ifpeople have gone to rome you
know when you're there andyou're like oh wow, like I had
that feeling.
Nicole Kelly (46:00):
When I was in the coliseum I was like, first of
all, it's way smaller than youthink it's way smaller.
But but then you know, Iremember we we took like a
private tour of the coliseum andpalatine hill and the.
Uh, the guide was like in theyear 80 and I'm like what?
Yeah, in the year 80.
Josh Lamon (46:15):
And I'm like what, yeah, in the year 80?
It's bonkers, and then you'rethere.
Yeah, it's incredible.
Nicole Kelly (46:23):
Yeah, we were also in a car and they're like
that's where Caesar was killedand I'm like what Isn't it,
bonkers?
Yeah, it's crazy to be in theseplaces that are just so old and
millions upon millions ofpeople have walked where you've
walked.
Josh Lamon (46:36):
Yeah, it's where everything started.
It's where our religion started.
It's the cause of greatcelebration, great grief, great,
everything it's.
I would love, love, love to goback.
We were also lucky.
We did a tour of the entirecountry.
We got to stay in kibbutzes andnice hotels.
(46:58):
It was also a scary time.
It was when a lot of you knowthe bombings were happening,
like suicide bombings and stuff,and I remember we took a bus
once and being terrified, beinglike I don't want to be on this
bus, but it was just somagnificent and I wish, I wish,
(47:18):
and I know I appreciated it backthen, but I wish I could go now
so I could really appreciate itas an adult rather than as a
teenager.
Nicole Kelly (47:28):
You know, that's something that's so funny.
I feel that we've had someroles that I've had too, that I
feel like, oh, I bring somethingso different to this now that
I've had life experience it's.
It's kind of the same thingwith uh, with israel.
Did you read at the wailingwall?
Because I know people will goand they'll have, like they'll
have their bar mitzvah there wehad ours.
Josh Lamon (47:48):
I might be wrong.
I want to say it was on mountsinai, okay, um, but we did go
to the wailing wall.
I know I put uh prayers onthere, probably about being on
Broadway or something.
Nicole Kelly (47:59):
Well, it worked.
It worked girl.
Josh Lamon (48:01):
Yeah, it worked.
Just go to the Wailing Wall,get your wish.
Nicole Kelly (48:04):
That's my problem.
Josh Lamon (48:05):
I haven't gone to the Wailing Wall.
That's why I've got to be onBroadway.
Yeah, exactly.
Nicole Kelly (48:08):
Welcome to the Wailing Wall.
What's your dream?
Very different movie.
Pretty Balabusta yes, verydifferent movie.
Josh Lamon (48:25):
Yeah, so I think that answered the question.
Nicole Kelly (48:29):
Yeah, yeah, yeah.
Josh Lamon (48:30):
One of my favorite experiences was Into the Woods
in Central Park with Shakespearein the Park.
It was epic and it was reallystrange too.
I auditioned for the role ofthe steward and the director,
timothy Sheeter from London, Ithink, was fascinated with me.
I was so strange and weird.
I was wearing this silverbrooch with cats on it and he
(48:54):
was like can you come closer?
And what are you wearing?
And I was like it's a brooch.
And he was like and then it wasthe weekend.
I asked my agents if they gotfeedback.
My agents were like I don'tthink this is going your way,
sorry, and I sat Shiva for thejob over the weekend.
And then Monday I had an offerbut there's something magical
(49:15):
Granted that production.
It had like a four story set.
The stage was mulch, we were incentral park when it rained,
you were being rained on andthen you were performing in mud
and um and doing Sondheim, whichis not easy.
Nicole Kelly (49:32):
For those of you that are not familiar, Sondheim
is like the Shakespeare ofmusical theater.
Josh Lamon (49:36):
It's the highest echelon, the highest Andon the
highest, and it's complicated,and also like you would have
raccoons fighting on stage whileyou're doing scenes.
Nicole Kelly (49:48):
Okay, they are rebuilding the Delacorte, but I
have heard that raccoons willtake up residence in the
Delacorte and it's like a bigproblem.
Josh Lamon (49:55):
Yeah, during the song Agony, one night night two
raccoons got into a fight on thestage.
A fight, um, you know so Ialways called it like you know,
like into the woods, was likebroadway survivor, you know it
was.
It was really intense but andalso it would be miserable.
(50:16):
You're performing in arainstorm, it's 80 plus degrees,
you're dehydrated, you're like.
Now I have to run up fourflights of stairs and sing, you
know.
But then you're sitting in thewings and sondheim is standing
next to you crying and you'rehappy tears and you're watching.
Donna murphy, my goddess, myfriend, my love.
(50:39):
Nobody does it better.
Belting out the song the lastmidnight while there's a full
moon behind her, wind is goingcrazy and there's rain and a
storm and she's the witch.
And I mean, when does thathappen?
That is magical.
That is theater like you willnever experience and those
(51:01):
people that did they will neversee anything like it again.
That to me is like some of myfavorite, favorite, favorite
moments in my career and in justseeing theater.
Also just like the memories ofstanding next to, to stevie's
downtime, while he's like crying, watching his show, like and
(51:25):
you know, and I don't want tomake people think that I was
close to steven because I wasn't.
We just did that show together.
And to prove that point, yearslater I did a um, a theater was
honoring him and I was asked toperform and sing Not While I'm
Around and I did it.
And then after the show I waslike Steve hi, josh, we did Into
the Woods together and he wasmuch older at this point and
(51:48):
just looked at me and he was sotired and he was like, if you
say so, you know, like highs andlows folks, highs and lows.
Nicole Kelly (51:58):
It can be glamorous and then not glamorous
.
Have you done like Jewish shows, like Fiddler.
I know you just did theJerusalem Syndrome.
Josh Lamon (52:06):
I did the Jerusalem Syndrome, which I wasn't able to
see, but.
No, no, in high school I wasTevye in Fiddler my sophomore
year and I was wonderful.
You brought all thatler mysophomore year and um.
Nicole Kelly (52:19):
I was wonderful you brought all that life
experience as a 15 year old.
Josh Lamon (52:23):
Yeah, exactly um, yeah, as a closeted Tevye.
Um yeah, no.
Oddly enough, it's like it's adream of mine to be in Fiddler
and nobody will see me for it,which I mean is fine.
But yeah, no, I can't.
I don't think I've ever playedanybody that was necessarily
(52:49):
Jewish.
Yeah, but I would love to.
I would love that.
Nicole Kelly (52:54):
All right.
So these last questions arekind of short form questions,
done like the actor studio, soyou can pretend I'm James Lipton
and you're on the show.
Okay, so what is your favoriteYiddish word?
Josh Lamon (53:12):
It's for like a woman, that's like an incredible
, like babble, oh gosh, oh, Iknow this.
I know this.
Why is it A balabusta?
A balabusta?
Nicole Kelly (53:30):
I'm not familiar with that.
What does that mean?
Josh Lamon (53:33):
It's like you, nicole.
You came here.
Your home's beautiful, you're agreat hostess.
I got a beautiful mug of nicecold water.
You're a balabusta, and thenthe other ones obviously, like
schmuck and schlep and all thatkind of stuff.
What I love about Yiddish is itreminds me of Italian.
(53:54):
It's so performative.
Nicole Kelly (53:56):
Like it's.
Josh Lamon (53:57):
You know it's like.
It's like dancing when you'resaying it, like I had to schlep
over here Even not knowing whatthat means.
You know what that means.
Nicole Kelly (54:06):
Yeah, I love Yiddish for the same reason.
What is your favorite Jewishholiday?
Josh Lamon (54:12):
Um, hmm, I don't know.
Maybe Purim I love to dress up.
Yom Kippur always scared thedaylights out of me when I was a
kid, Like hearing the rabbi belike some by fire, some by water
, being like oh my God, this isa horror film.
(54:34):
Please don't kill me.
Nicole Kelly (54:37):
You know, you should, speaking of israel, you
should go to tel aviv for purim.
I hear it's like a big danceparty, but there's also like a
big gay scene in tel aviv well,what's rad about my mom?
Josh Lamon (54:47):
I was obsessed with punky brewster when I was a kid
yes, and millennials.
Yeah, and I, I went as punkybrewster to our temple purim
carnival at like maybe secondgrade, and my mom was like, like
, looking back as a being, like,oh, that was like the early 80s
.
And for my mom to be that like,yeah, you can go as punky
(55:08):
brewster, I don't care andnobody made a big deal out of it
, I was just punky brewster, Ididn't want to be king of
hushwares, like a wig with, likea wig with, like the pigtails,
I think no, I had like longenough hair that my sister made
pink pigtails and we sprayed itblack, you know.
Nicole Kelly (55:24):
If you were to have a bar mitzvah today, what
would the theme of your party be?
Josh Lamon (55:30):
Something ridiculous .
It would be something so absurdit wouldn't be Broadway, I
don't know, maybe like aSchitt's Creek kind of thing, or
, or, like, or like even folksthat more like a night of 1000
Moiras, you know, it would be soout of control and absurd and
campy and ridiculous yeah.
Nicole Kelly (55:52):
What profession other than your own would you
want to attempt?
Josh Lamon (55:56):
I love the idea of being a therapist.
I also really love teaching.
I've been teaching a lot and itfills me up in a way that
theater did when I was 18 andjust starting out.
I love that and if I had like arandom dream job I'd want to
work in, probably criminalpsychology or forensics.
(56:20):
I am a little true crimeobsessed and I would love to
work in that, or I love the ideaof it.
I don't know the reality of it,you know, but like solving
crimes and locking up bad guys.
Nicole Kelly (56:38):
If heaven is real and God is there to welcome you,
what would you like to hearthem say?
Josh Lamon (56:43):
Hey queen.
I don't know I would like a hug.
I would like to see mychildhood dog and all my loved
ones who have gone before me.
Nicole Kelly (56:56):
Is there anything else you want to talk about or
plug?
Josh Lamon (57:03):
I know we talked about not wanting to do
self-promotion, but the onlyother thing I guess that I do is
I'm a member of this really funmusical improv team.
Nicole Kelly (57:11):
Yeah, I saw you posting about this.
Josh Lamon (57:12):
Talk about what that is, it's called Schitt's Probe
and basically in theater there'ssomething called a Schitt's
Probe where you you.
Nicole Kelly (57:19):
It's not about you .
It's not about the actors nope,it's uh the.
Josh Lamon (57:23):
The performers and the orchestra rehearse together
for the first time and it's areally magical experience.
So we're called schitt's probeand it's some of new york's best
uh improvisers.
And we take a Broadway or TVicon that doesn't necessarily do
improv and we make them thestar of an improvised musical.
(57:44):
Everything is improvised lyrics, dances, dialogue.
We have a band that are alsoimprovising as we go along and
it's so much fun.
So I'm obviously taking a breakduring Death Becomes Her, but
it performs twice a month in NewYork at the Asylum and it's
definitely worth checking out ifyou're in the city, and I guess
(58:06):
you know.
I do want to emphasize that,though it may seem like, when
we're talking about showbusiness and the experience of
it, that it is negative, it isalso quite joyful and there is a
lot of love here.
It is very difficult, but it isalso very rewarding and very
(58:28):
beautiful, and so if you'resomebody who loves art in any
shape or form, I thank you andcontinue loving art, continue
sharing art and also, like ifyou love theater or want to be a
part of it, but don't want togo for it professionally, I just
want you to know that.
That is so okay.
That is wonderful.
There are so many ways like tobe an artist and no matter what
(58:53):
you do in your life, nobody cantake away that you are an artist
, period, yeah.
Nicole Kelly (59:01):
Well, on that note , thank you so much for joining
me, josh.
This is Nicole Kelly, and thishas been she Brewing the City,
so I hope you enjoyed the secondhalf of that episode.
So I have a small request fromall of you.
I know you're listening outthere, but I don't know who you
are.
Please follow me on Instagram,send me a DM comment on my
(59:22):
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We have some merch coming.
I also am going to beparticipating in a giveaway the
week before Hanukkah with someof my past and future guests, so
be sure to follow me onInstagram and keep a lookout for
that.
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So I hope you enjoyed thatfirst half of Josh's interview
(00:40):
and love him just as much as Ido.
As I mentioned, we had so muchto talk about that we have a
two-parter, so this next episodeis going to be the second part
of Josh's interview.
As I mentioned before, josh iscurrently in previews for the
new musical Death Becomes Her,which I saw on its first preview
night.
It was excellent.
You can check that out online.
Also, be sure to follow Josh onInstagram.
(01:01):
You can take a look at some ofthe old production photos and
get to know him a little bitbetter as well.
So please enjoy Josh's episodepart two.
So you've mentioned a few ofthem.
Do you have any kind of crazythings that have happened on
stage?
I think all actors have.
You know they like.
This happened and it was nutsor something maybe you've seen
happen in a show that you werewatching.
Josh Lamon (01:22):
I would say the craziest thing that happened to
me wasn't on Broadway.
I was in a children's theaterproduction of Big River when I
was a kid and I played TomSawyer, and it was one of those
children's theaters that had amillion kids.
So I wasn't the only Tom Sawyer, as a matter of fact.
Adam Lambert was the other TomSawyer.
Nicole Kelly (01:39):
Yeah, he's also.
Who's also?
Josh Lamon (01:40):
a Jew, who's also a Jew, who's also a Jew.
I grew up with him.
We sang in a temple choirtogether for a moment.
Nicole Kelly (01:46):
I love your like.
Oh yeah.
I can only imagine what AdamLambert, singing in a temple
choir, would sound like.
Josh Lamon (01:52):
Well, what's funny is when he was young, his voice
wasn't that good, and then, whenhe was a high schooler, all of
a sudden he had the best voicein the world and I was so
jealous I could scream, but atthe time, when we were like 13,
he was the other Tom Sawyer, thecharacter.
Tom Sawyer sings a song calledhow About a Hand for the Hog?
(02:14):
And it's very quick, very rapidand, for whatever reason, they
had us holding a real pig as wesang the song.
So it was my.
I think it was my onlyperformance as tom sawyer.
I was not the favorite childhere.
Um was a matinee and I'mholding a pig like a baby pig a
(02:36):
pig, not, I mean, I was 13, ish,14, who knows.
Yeah, it wasn't like a huge pigor anything, but it was a pig, a
holdable pig.
And um, halfway through thesong, the the pig shit my hands.
Am I allowed to say that word?
yes, yes and, uh, I froze and Iblanked on the rest of the song
(03:03):
and the ending of the song,ironically, is Thank you, and I
just skipped to the end.
I just looked at the conductorand was like Thank you.
And I walked off stage justcrying and there's Adam Lambert
giving me the slow clap goingBravo, josh, bravo, crying.
(03:29):
And there's Adam Lambert givingme the like slow clap going,
bravo, josh, bravo.
And I just freaked out and it'sfunny, I think that's what
started like our, our childhood,like riff against each other,
but then we ended up doingWicked together years later, and
like he was lovely understudy,right?
yes, we we'd call it shiero whenadam went on and um, I love
(03:49):
adam so much.
And then adam obviously didamerican idol and is now like
lambert, yeah with with queenyeah, I'm so happy for him.
He's a.
Nicole Kelly (03:58):
He's a incredible human there's someone that we
know that did, was it?
She did Gypsy?
Or what show at Tuacon?
Oh no, it was some show, Was itGypsy?
And they used a real lamb for alittle lamb.
Yes, that was my production,but Tuacon contracts are like
(04:18):
five months, so the little lambgrew and by the end it was like
this giant lamb and she'ssinging little lamb to like this
full grown lamb.
Josh Lamon (04:28):
Yeah or sheep.
Nicole Kelly (04:29):
I guess it would be Sheep.
It would be, at that point,little sheep.
Josh Lamon (04:34):
That's hilarious.
Nicole Kelly (04:35):
Animals on stage are not a good idea.
Josh Lamon (04:37):
No.
Nicole Kelly (04:38):
I love dogs and I love shows with dogs, but the
part of the problem is you neverwork with dogs and children
because they pull focus, becauseyou don't know what they're
going to do.
So as an as an adult, you don'twant to be on stage with
animals or children because,like when bruiser comes on and
legally blonde, you're likewhat's the dog gonna do?
And then I feel like you justneed to limit your time with the
animals, because there's, Imean even the most trained
(05:00):
animals are could beunpredictable though those
animals are trained within likean inch of their life.
Josh Lamon (05:05):
Most of the time, the dogs that they use for
Finding Neverland were nottrained.
They came from an animalsanctuary and it was their first
time on stage.
Harvey Weinstein, the headproducer of the show, didn't
want to pay for the big Bill.
Whatever his name is, who does?
Nicole Kelly (05:22):
Bill Berloni, yeah , who does all the Broadway
animals and he gets rescue dogsbut he actually trains them.
Josh Lamon (05:28):
Yeah Well, this company, poor Diane, would be
sitting in the house during techwith a god mic and Bambi was
the dog's trainer and she'd belike Bambi, Bambi, can you get
the dog to look at Matthew andplay the lead?
And Bambi, bambi, can you getthe dog to look at Matthew, play
the lead?
And Bambi would come out onstage and be like no, he's a dog
(05:49):
, he's a dog, I can't do that,he's a dog.
And then, like she would haveus, like hold meat in our hands
to get the dog to do things, orlike come with us and like when
your hand smells like meat forweeks on end and you're like I'm
(06:10):
going to die alone.
People are like you're so luckyyou're on Broadway and I'm like,
yeah, and I smell like beef.
Nicole Kelly (06:16):
Hi ho, the glamorous Broadway is not
glamorous.
No, it's not.
I feel like people think it'ssuper glamorous.
It is a lot of work with meatspelling hands.
Josh Lamon (06:25):
Yeah, and you're carrying meat in your pocket
Beef.
Nicole Kelly (06:37):
Hoping that a dog that's not trained will do what
it's supposed to do.
I love the dogs in the shows.
When I was in London with mymom and sister, we went and saw
Lady Day.
It was actually AudraMcDonald's last performance.
Josh Lamon (06:45):
Oh, she's so good.
Nicole Kelly (06:46):
And we were at a pub across the street before the
show and the dog handler walkedout with like three chihuahuas
and I was like I'm going tofollow the dogs my mom's like
what is wrong with you?
I was like I want to follow, Iwant to go see the dogs.
Yes, because that that show wasso fancy it had understudy dogs
.
That's when you know you havemade it.
And it's also funny because Ihaven't done a show with dogs
(07:09):
but Patrick has.
He's like the dog has a betterresume than me because they're
so specific.
But the best thing to do is, ifyou're an actor is to be a
handler, because then they wantthe dog and they have to give
you a contract as well.
So that's where the real moneyis yeah.
They contract as well.
So like that's where the realmoney is.
Yeah, is they?
They pay more for the dog, um,than for you.
Kind of going back to what wewere talking about, like with
swings, you've also been theunderstudy in several shows.
(07:31):
Can you kind of talk aboutexactly what that means and what
the experience of being anunderstudy on broadway is like?
Josh Lamon (07:37):
sure, when you're an understudy on broadway, that
experience means you're gonnahave a doctor who gives you a
prescription for lorazepam soyou can calm down.
Often You're going to have arestaurant in Midtown that knows
what you drink.
It's wonderful.
It's also terrifying, at leastthe first few times that you go
(08:01):
on.
You also might not go on.
You never know.
Dep depends on who you'reunderstudying.
But, um, it's tough becauseyou're doing eight shows a week
and then thursday and fridayyou're also at the theater
rehearsing all day.
Um, but then when you go on,it's, it's magical.
The first time is alwaysmagical because everybody is
(08:23):
supporting you.
The third time not so much.
Everybody's used to it.
Then they're like this guyusually sticks out his right
hand and not his left, can youdo that please?
And it's like, oh, yeah, sure,okay.
But it's also exciting.
(08:46):
When I understudied Brooks inthe prom, it was fun because I
was a principal role in the show, but I was also the leads
understudy and so it was trickybecause sometimes on stage I
would watch him when I'm stilldoing my job and doing the scene
, but really I'm focusing onwhat he's doing because I can't
watch the show.
So this is my opportunity tolearn.
And then there was a momentwhere I was sitting backstage at
(09:06):
intermission.
I always sat in this quickchange booth because the
Longacre Theater, there'snowhere to go and I would read
my book, like in the middle ofall these costumes, and the
stage manager, glenn, ran in andhe was like you're on for
Brooks at intermission.
I was like shut up and he wentno, no, no, no, no, you're on
for Brooks.
And literally I was like okay,bring my costumes down here and
(09:32):
bring my lorazepam.
And they did.
And, um, I had to go on stagefor the genius Brooks Ashmanakis
at intermission and when theythey announced it, you could
hear the audience be like oh youknow, which is fine, I get it
(09:52):
and, um, I think, just to puttheir minds at ease, the first
thing that I did when I went onstage the character was emma,
who I was supposed to talk to,and I was like emma, it's me, I
know I look different and uh,the audience, like, was then on
my side and they erupted inapplause and it worked out.
But uh, yeah, being anunderstudy is fun, rewarding and
(10:15):
stressful it's.
Nicole Kelly (10:18):
I I've never understudied, but I feel like
it's so different from being aswing because, like you said,
you can't watch.
So stress, stress We've talkeda little bit about this
personally and a little bit inthe interview that social media
has become such an importanttool for actors and this is not
(10:38):
something that existed wheneither of us started performing.
So what are some of thechallenges of being a
professional actor in such asocial media-forward world?
Started performing, so what aresome of the challenges of being
a professional actor in such asocial media forward world?
Because I know there's someproducers that want, like, a
specific social media followingin order to hire you, which is
bananas to me because, you'renot the producer.
It's not your job to promote theshow.
Josh Lamon (10:58):
I think there's a little bit less of that now,
which is good, because I thinkpeople have learned that just
because you have a following,that doesn't mean that you're
gonna sell tickets yeah likethere was this big surge and
like, oh, we gotta hire a tiktokstar or something and it's like
great and the show floppedbecause a tiktok following
you're talking about like theyhave a bunch of 13 year old fans
(11:20):
from all over the world.
Nicole Kelly (11:21):
13 year olds don't have money to buy broadway
tickets, period um most peopledon't have money to buy broadway
tickets, definitely not 13 yearold, same um, but it's, I think
, for me and my journey.
Josh Lamon (11:33):
It's a little complicated because I really
don't like social media.
It makes me uncomfortable.
I post when I have to.
I I also feel weird.
Posting I don't too.
I also feel weird posting.
Nicole Kelly (11:49):
I don't want people who aren't working to
feel bad.
If I'm working, that's a realthing.
Because sometimes when I'mdepressed, I'll look on the kind
of search for Instagram and it,just because of the algorithms,
will be like all these peopleand wicked and I just will like
it makes it's a real thing.
I feel it.
Josh Lamon (12:03):
You know, when you're not working and you see
people working, you're kind oflike yeah, also, what you're
seeing is the glamorous sideyou're seeing if it's like one
of those stupid tiktok reels oflike this is my day for a
two-show day and it's likeeverything looks so perfect, but
really it's not, no, andthey're not showing how how many
auditions they didn't get toget this show.
Nicole Kelly (12:25):
Yeah.
Josh Lamon (12:26):
But also the people that post themselves like here
are my you know self-tapebloopers.
I'm just like, so you'rebragging about all the jobs
you're not getting online, likethat's how it makes me feel.
I just social media just rubsme the wrong way.
Nicole Kelly (12:41):
Yeah.
Josh Lamon (12:41):
And I wish I wasn't sort of addicted to it.
It's a problem because and itand it.
Nicole Kelly (12:47):
Like you know, talking about mental health of
actors in general, it's hardenough when you know back in the
day would find out through thegrapevine someone got a role
that you didn't.
But now you're not only seeingthat, but people you don't know
and you're, you know you'recomparing yourself to everybody,
which is an actor's favoritepastime and it's so hard, but
(13:07):
it's become such an importantpart of performing and I think
just being a professional ingeneral doesn't matter.
Whether you're like a sextherapist or an actor like you
need to have some sort offollowing in order to yeah, do
everything and advertising isimportant and I use that.
Josh Lamon (13:21):
But um the older I get, the less I post, also the
less like personal stuff yeahsort of post.
Um, you know?
Um, oh, thank you, patrick,he's bringing me water.
Um, yeah, so, but social media,it is important, but I think
it's also important to um knowwhat you're posting and to be
(13:44):
sensitive towards other people.
And it's great to be like, hey,I'm doing this show, but, um,
you don't need to constantlylike.
I think some people thatbecomes their self-worth yeah,
well, that makes sense.
Nicole Kelly (13:57):
So, speaking of self-work, you're one of the few
people who actually got apositive review from ben
brantleyley, because he's kindof known for like pooping on
anything, even good things, hedoesn't like.
How did that feel?
That was amazing.
Josh Lamon (14:11):
Are you kidding me?
That was just like.
I forget exactly what he said,but it was.
I think it was for A New Brainat City Center, which I also saw
oh, it was one of the bestexperiences ever and for like to
get that sort of validation.
At that time I was working forharvey weinstein.
(14:32):
You do not get that kind ofvalidation from from that man.
No, and um, he wasn't evengonna let me go do a new brain.
I had to.
I basically quit fighting,neverland.
I said, said fine, here's mynotice.
And then they came back andwe're like, okay, you can go do
that, but then come back.
You know, but that was how Iwas being treated.
And then all of a sudden, benBrantley is liking me Like it's
(14:58):
nuts.
It's wild.
I'll never get over it.
Nicole Kelly (15:00):
I love that you got a positive review from.
Like the most harsh critic inprobably the.
There will never be a BenBrantley theater.
He's not beloved in the NewYork City theater community.
Josh Lamon (15:15):
I didn't say that that was Nicole.
It's fine.
If I never work ever again asan actor, which I'm not, and
it's all because of that, whichI'm not even like actively
pursuing right now I owe moneyto equity, so I couldn't even
audition.
I think I owe money to equity.
I think everybody owes money toequity.
Nicole Kelly (15:31):
It's like a $1,200 , $1,400 initiation fee and
they're like give us this muchmoney every so often and it's
like, guys, we're not working.
Josh Lamon (15:40):
There's 2% of the union working at one time.
Nicole Kelly (15:42):
Like calm down.
So, speaking of working, you'vealso done a lot of film and TV
work.
So for those of us listening,for those of us listening that
have never, that are not actors,what's the difference really
between film and theaterauditions?
Josh Lamon (15:59):
Oh well, I mean it's changed also.
It's changed drastically.
It used to be you would go intoa casting office and do it with
a casting director.
They'd give you feedback, You'ddo it a couple times and that
was the day.
And what was awful about that?
Let's say you had two or threeauditions that day.
One of them is for a CEO typeand the next one is for a
(16:19):
bohemian type CEO type and thenext one is for, like a bohemian
type, to walk around the citycarrying all your stuff
three-piece suit, you know, adirty scarf for the bohemian,
whatever, and finding a place tochange it was a nightmare.
Now it's all self-tapes, meaningthat you have to do them at
home, which has its benefits,and also is very lonely because
(16:43):
you're not getting feedback.
It feels sometimes like you'resending them out into the ether
and not getting a response.
But also there are bonuses Alot more people, auditions are
much more accessible because ofself-tapes for many groups of
people, which is wonderful, um,but so that's really.
(17:06):
I mean also it's just moresubtle.
You know, theater has atheatricality to it.
Where film they don't want towatch you acting, they want to
watch somebody being yeah andthat is a talent and it is very
difficult and some people arevery natural and terrific at it
and other people are not.
I would say it is probably myfavorite medium.
(17:29):
I love working in film and TV.
I think it's so much easier.
The money is much better.
Nicole Kelly (17:36):
Yes.
Josh Lamon (17:37):
The hours suck.
But you're also like.
I work a lot in comedy, andwhat's hard about doing a
long-running show on Broadwaywhen you're trying to make the
same joke land for the 500thtime, that's hard.
When you just film it for a day, like you're done, you never
(17:59):
have to worry about it again,and so I think that's sort of
what I love about it.
Nicole Kelly (18:03):
They're different mediums.
I've seen people who have wonAcademy Awards on stage and it's
not happening.
Yeah, so I think you know beinglike you said, they're so, so
different.
Do you find because we talked alot about some of the shows you
didn't haven't talked about,you know you've done more than
we've talked about Do you findthere's a downside to being a
(18:23):
more well-known performer withinthe Broadway community?
Josh Lamon (18:27):
Well, it's that's interesting.
I don't necessarily feel likewell-known outside of you know,
the theater community, I guess.
But it's there's positives andthere's negatives.
Sometimes it's like, oh, I feelon top of the world, I know
I've inspired people or I don'thave to audition for this, I'm
(18:47):
just being asked to be a part ofit.
And then there are other timeswhen it's like, especially with
the pandemic, which was just sobrutal for everybody, but I
think specifically for theaterworkers, for everybody, but I
think specifically for theaterworkers where you're like, oh, I
haven't worked in a while and Ifeel like I'm being forgotten,
or I feel like people think thatI'm failing, or you know, it's
(19:12):
really just, it's easy to beatyourself up emotionally speaking
.
Easy to beat yourself upemotionally speaking.
Or like, oh, I played principalroles, now I'm doing ensemble
again and do people look down onme for that?
And the sad thing is that, yeah, there are going to be some
jerks who do treat you or talkabout you differently, and there
(19:35):
are going to be some.
The majority of people are verykind and they get it Like a job
is a job I was doing one of myfirst jobs out of the pandemic
theater-wise was in the ensembleof Dear World at Encores and
this show fan I forget his namebut he's a lovely old man and I
know he meant well but he waitedfor me at the Sage store before
(19:58):
the show and was like I justwant you to know that this is
beneath you.
And I know that he meant well.
But it really hurt my feelingsand I was like it's beneath me
to have a job, it's beneath meto to what?
Like I'm lucky to be here, I'mlucky to be in this caliber of a
(20:19):
show.
Yes, I'm not doing much, but amI making a living?
Am I able to pay my bills thismonth?
Am I able to get insurance,weeks after losing my insurance
twice during the pandemic?
So it is not beneath me, butyou know.
Like it is not beneath me, butyou know, like it just it really
(20:43):
hurt to hear that.
So I think that's sort of thedownside is people just don't
get it.
They don't get how hard it is.
They don't get that there is nodirect path.
There is no book that's goingto teach you all.
It is random, it is luck, it istalent meets, opportunity meets
.
You know, who knows what Dothey like you?
Is your hair the right color.
(21:04):
You know, you just do not know.
Nicole Kelly (21:06):
It comes down to a lot of arbitrary things.
You know, I think my story Italk about a lot is there was a
director who didn't like thedress I wore the first time he
saw me at an audition and thatwas the end of that.
I hate that person.
Well, he's dead.
Josh Lamon (21:22):
So he saw me at an audition, and that was the end
of that.
I hate that person.
Well, he's dead.
God hated them too.
You can cut this, patrick.
Nicole Kelly (21:26):
No, leave it, Let the people know.
Josh Lamon (21:36):
God took Yom Kippur seriously that year.
Nicole Kelly (21:38):
He was like you are not.
Josh Lamon (21:40):
What did you say about that dress?
No book of life for you it wasa cute dress I bet it was?
Nicole Kelly (21:45):
It was turquoise.
What advice would you have forsomeone who's interested in a
career as a Broadway performer?
Josh Lamon (21:52):
Oh, this answer has changed so many times over my
life.
I feel like people really wantme to say, like, just go for it,
shoot for the moon, you know,and yes, but honestly, like in
my 40s, the reality is is thereanything else that you want to
do?
Nicole Kelly (22:06):
And this is something I hear often from a
lot of people If you can seeyourself doing anything else, do
that.
Josh Lamon (22:12):
Do it there is if you're doing this for a living,
there has to be an insane drivewithin you where this is the
only option period, becauseotherwise it just is not worth
it.
You go through so muchrejection, so much pain, you are
(22:33):
so poor all the time, and evenwhen you're working like yes,
yes, people go wow, you're onBroadway, you're making this
much money, and it's like forsix months.
So what I'm doing in that sixmonths is saving money to make
the rest of my life a littleless miserable, you know.
So that's what I mean.
(22:53):
If you, you can still dotheater.
If you're not a professional,you can still perform everywhere
.
There are so many performanceopportunities.
You don't have to make thisyour life If you want it, if
it's just there are no otheroptions.
And I relate to that becausethat's how I was take as many
(23:16):
classes as you can, as manyclasses as you can.
Find your community, because weare often told that these
people are our competition.
But no, we are only atcompetition with ourselves,
because us getting the job isnot in our control.
What's in our control isshowing up, prepared, passionate
(23:37):
and present.
Everything else is not in ourcontrol.
So up, prepared, passionate andpresent.
Everything else is not in ourcontrol, so that is your success
.
But, honestly, take as manyclasses as you can, meet as many
casting people as you can.
You're going to spend a lot ofmoney on these classes.
Nicole Kelly (23:52):
It's so expensive it's so expensive.
Josh Lamon (23:54):
But if this is truly your journey, really just take
as many classes as you can, beopen, be strong, find your
community and really practiceself love and, um, also like
even even for us big girls likeyou know, move your body, get,
(24:18):
get you know, work out and stuffbecause you can be big on
broadway.
But it's, it's not easy it'sphysically, it's very physical.
Nicole Kelly (24:24):
Yeah, so can you talk a little bit about your
current project and how you gotinvolved with that?
Yeah, I'm very excited me too.
Josh Lamon (24:32):
It's, uh, one of my favorite movies.
Come to screen, death becomesher the musical and it's
starring, uh, my, my loved ones,jen samard, megan helty and
christopher uh, christophersieber, I almost said fitzgerald
, sorry different christopheryeah, and it was funny.
I uh started.
I got an offer for the for thefirst reading and initially I
(24:57):
was like I don't want to doensemble, I think I'm going to
say no.
But then I looked at the teamagain and I was like, actually,
I'm obsessed with this film.
Like, yeah, yeah, I want to dothis.
And I did it.
And that led to a much more, amuch bigger version of the
reading where, like, you had aband, you had the fancy mics, it
(25:18):
was huge and it was also socool because it was so hush hush
and everybody that I knew inthe industry was trying to get
in to see these presentations.
And the fact that, like, myagents couldn't even get in was
like, oh, this is, this is cool.
And then I had to audition togo further with it, which meant
(25:39):
going to dance calls and at thetime I was working on
development for the La La Landmusical and trying to get them
being like Hi, I know that wehave 29 hours to do this, but I
need to go away for five hoursto go dance and sing.
Oh, and now they want me tocome back tomorrow, is that okay
?
And hoping that it worked out.
(26:02):
And I wanted it so badly and Iwas very lucky and I got it.
And then the workshop was adream come true.
I love this cast, I love thecreative team, but it was also
hard.
There's dancing and there weremoments of dancing that were out
of my, I guess, out of my levelof expertise, and I literally
(26:26):
went to the associatechoreographer and I was like,
hey, this dance move I can't do.
I'm trying and I will getbetter at it, but I just want
you to know.
And they were very like thankyou for saying that, we
appreciate that.
But then after that that, therewas the wait to see who was
going with it to Chicago and noteverybody got accepted and we
(26:48):
waited for a long time.
I want to say we waited forlike two, three weeks and that
was they.
They held another round ofauditions and saw everybody in
New York, and so there's thatfeeling of like it is us.
But now they're searchingeverybody, searching under every
(27:09):
rock, every stone, scraping thebottom of every barrel, just to
make sure that it really is usbefore they spend the money on
it.
And yeah, but it's a dream cometrue, the show is fantastic,
it's so funny.
Plus, like Megan Hilty andJennifer Samard on stage
(27:30):
together.
It's just two geniuses on stage.
Like you can't do better thanthat.
It's really amazing.
Nicole Kelly (27:41):
Okay, so I want to know about a crazy audition
story.
We all have a crazy auditionstory, like a terrible audition
or crazy good audition.
Like mine is they were doing aproduction of 42nd Street out
near in LA where my parentslived, and I'm not a tap dancer
but the director, john Engstrom,who was in the original cast of
(28:03):
42nd Street, was my tap teacher, so he knew me and I was like I
just have to get through thistap combo and I'll be fine.
And I did good on the tap comboand then they had everybody
come in to sing and I was soexcited that I got through the
tap combo.
I blew the singing part, whichis not my thing, and I didn't
get it, but I ended up gettingthat fiddler I talked about so
it worked out.
It worked out fine, but I lovepeople's like crazy audition
(28:25):
stories because everyone has onesure I mean yes, yes, there
there happen crazy stories.
Josh Lamon (28:34):
I guess the one of them for me or one of two was
the first one is disney wastrying to see if they could put
the jungle book and make thatinto a big show they would have
had to do like a lion king thingwho knows, but they were doing
it in chicago and I went in forking louis they're like and, but
it was very strange.
I think m to be like you, but itwas very strange.
(28:57):
I think Mary Zimmerman wasdirecting, it was very abstract
and they had us reading allthese weird poems from the book
or whatever.
And I'm waiting to go in andthe casting director comes out
and she goes hey, are you readyto go?
And I was just like yeah, yeah,she was like okay, um, walk in
like a monkey.
(29:17):
This is josh flamin, everybody.
And I was just like what, okay?
And though you can't see melistening audience at home, I
just awkwardly like walked in,like what I thought a monkey
would with an embarrassed lookon my face.
Another similar thing was I wentin for Honeymoon in Vegas to
(29:38):
replace somebody.
It ran long enough that theyhad to erase once.
Oh no, this was from theirout-of-town at Paper Mill.
Nicole Kelly (29:45):
Oh, okay, I was like it didn't run long enough
for them to replace people.
No, they had a very short runsadly.
To be fair, there was a songabout skin cancer.
Josh Lamon (29:53):
Was there.
I don't remember that.
Nicole Kelly (29:55):
Because the whole premise is that oh right, I
remember that.
That the leading lady lookslike his wife who died.
And he sings a song about howhe should have gotten her out of
the sun.
Yeah Right, so there's a songabout skin cancer.
Josh Lamon (30:09):
As there is in every great musical, of course.
But I was going in to play liketony danza's sidekick or
something, and it was highstakes.
They were looking for somebody.
Immediately there were like 50people in the room watching you
and um casting comes out andthey're like, hey, are you, are
you ready to come in?
And I was just like, yeah, yeah, I think sony is great.
(30:31):
Um, uh, you're reading withTony Danza.
This is Josh Lehman, everybodyand Tony Danza is like, hey,
he's this wild energy that Iwasn't prepared for.
Nobody told me that I was goingto be reading with Tony Danza
and I absolutely failed.
And then, uh, they had me dothe song and he was behind
(30:56):
everybody in the room likemaking wild gestures at me, like
trying to like make me I don'tknow hype me up or something,
and it was so distracting and Ijust failed and I just wanted to
ask for my resume back.
Nicole Kelly (31:09):
Those are expensive.
Man Headshots are expensive,girl Headshots are expensive and
actors are poor.
I know it's like $100 for like25 of them or something obscene.
Josh Lamon (31:19):
Yeah, but those were sort of like the crazy.
Those were sort of the crazyauditions of just like being put
in an awkward situation all ofa sudden.
Nicole Kelly (31:30):
I had something similar happen to me.
They were doing a production ofRobber Bridegroom in LA and
they were like, pretend you're abird.
And I'm like what the fuck?
No, you pretend you're a bird.
You pretend you're a bird Jerk.
And I've heard of directors aswell, who will ask for weird
things in the room just to seeif you do them or will listen to
(31:51):
them yeah.
And that's kind of like a mindplay game that I don't think is
necessary.
Josh Lamon (31:55):
It is, and I agree for the recent for the who's
Tommy revival that's coming in.
I was auditioning for for uncleErnie a bunch, and uh, the
director does, who I think isbrilliant.
I've never worked with himbefore.
He was like no, at the end ofthe song, uh the song, uh, you
(32:17):
know what happens, is he?
Uh, he's so disgusted withhimself that he runs outside and
he throws up and then he takesa giant chug of you know out of
his flask and all this stuff.
And so I finished the song andfor those of you who don't know
the who's tommy, uncle ernie isdoes something terrible to tommy
, um, and so I finished the songand there's silence in the room
and so I was like, oh I betterdo what he wants.
(32:40):
And so I pretended to like gothrow up and then drink heavily
and like I did this, like Idon't know like three minute,
like silent scene with myself asthey watched, and then more
silence and he goes.
You know, in my entire careernobody's ever, you know, done
(33:02):
what I've told them would happenafter.
So thank you for for showing uswhat that would look like.
And I was like, oh so, I wasn'tsupposed to, you were all just
being silent that's so weirdyeah, so strange.
Auditioning itself is so weird.
Nicole Kelly (33:13):
It's such an unnatural thing, it's awful.
It's, and there's these weirdrules that so strange.
Auditioning itself is so weird.
It's such an unnatural thing,it's awful, and there's these
weird rules that you're justsupposed to know.
You know, it's just not natural.
Josh Lamon (33:23):
No.
Nicole Kelly (33:23):
It's not a natural thing, it's bizarre.
And I feel like I'm such anover-preparer that if I don't
over-prepare that I don't I getin my head.
Josh Lamon (33:39):
And don't I get in my head.
And then they ask you to doother stuff and I'm like, but I
didn't prepare for this.
I'm the same way though.
I'm like, okay, I'm going torehearse it.
As if the reader is on theright side of the room now, on
the left side of the room, nowthey're up with me now.
Nicole Kelly (33:43):
I'm looking at them like, yeah, I, yeah, I do
everything that I can we talkeda little bit about rejection and
, um, kind of the difficulty ofthat.
Do you have any advice forsomeone who's facing a lot of
rejection but is not quite atthat point where they're?
And I love these stories thatyou told.
I feel like I hear a lot ofpeople who are like I'm gonna
(34:04):
quit, and then they end upgetting their role.
But a lot of people.
Myself, I struggle with this.
I think a lot of actors do.
What would be your advice tosomebody about how to deal with
rejection?
Josh Lamon (34:16):
Be so kind to yourself Because, honestly, like
it really has nothing to dowith you.
If they want you, they want you.
If they want somebody else,they want somebody else.
It's not personal, it's just it.
Maybe it's a look, maybe it'sthey know them, Maybe who knows?
Maybe it's a look, maybe it'sthey know them, maybe who knows.
(34:49):
So, like I said earlier, what Ido a lot of audition coaching
and what I tell people your jobis to give them a fierce option.
That is all your job is is topresent you are being 1000%
successful.
You are being.
You are a successful actor herein the city, because the
results do not equal yoursuccess period.
Nicole Kelly (35:02):
And I feel like also part of your, I've been
told your job as an actor is notto book shows, it's to get
callbacks, it's to get just toit's to let casting know that
every time they bring you in,you are going to give them the
fierce option that is you.
Because casting directors alsothose of you not familiar with
kind of how it works is usuallyyou don't get to the actual
(35:24):
creative team until you've been,you know, okayed by the casting
directors.
So when they okay you they arealso risking their reputation
and trying to bring the bestoptions so that they continue to
get jobs yeah so I mean, it'sthere's just so much.
And I love that you're talkingabout how, it's not you, because
I feel like you know we alsohave to kick into account a lot
(35:44):
of times things are precast andthey're just auditioning because
the union requires it.
It's, there's just so manyvariables but it's still, it's
hard.
It's really hard to be kind toyourself yeah, so it's, it's
still.
Josh Lamon (35:57):
It's hard it you are emotionally and taking care of
yourself, and maybe that meansI'm going to take myself to a
(36:22):
movie today, or like one of myrewards is I don't love fast
food, but McDonald's has thebest Diet Coke in the world.
Nicole Kelly (36:32):
They have their own formula.
Josh Lamon (36:36):
The best diet coke in the world.
Nicole Kelly (36:36):
They have their own formula and sometimes if I'm
feeling like low after anaudition, I'm like I'm gonna get
myself a mcdonald's diet cokeand that is my treat and that is
some self-care in that momentum I've also heard about like
letting it go, and this issomething I'm really bad about,
because I start to likefantasize about doing a show and
I kind of get all on board withit, yeah, and then I can't let
(36:57):
it go.
Josh Lamon (36:57):
Yeah, you have to let it go.
You have to find ways to um,like what I do.
The sides Um, as soon as I'mout of the audition, I throw
them away.
If I have to reprint them, I'lldo it, but I'm not going to
count on it.
That energy is not coming withme anymore.
It is, it is done.
Goodbye.
And onwards and upwards, becauseyou know, what I've learned is,
(37:20):
when I first came into thisindustry, I was a little
obsessed with it.
Every, all of my self worth waswrapped in to when I was
working, and it was like thatfor about 20 years until the
pandemic hit when, all of asudden, all of that was gone and
I was alone in my apartment,feeling worthless.
Um, so that there's so muchmore to life than than our
(37:47):
success at our careers, whetherit's performing, whether it's,
you know, underwater basketweaving or being a lawyer.
What matters are the people inour lives.
And, um, you know, underwaterbasket weaving or being a lawyer
, what matters are the people inour lives.
And you know, I'm very, verylucky to have an incredible
boyfriend that I love with allmy heart, and even when I'm
having those bad career days I'mlike, but you know what I'm not
(38:09):
sharing my life with aproduction of rent or whatever
Like this is who matters to me.
Nicole Kelly (38:17):
And that's one thing I think also about, about
I'm getting closer to the micbecause Patrick yells at me
about this, uh.
I think that's also somethingthat a lot of people don't
realize is.
You talked a little bit aboutbeing sad when a contract ends,
when a show ends.
There's a deep depression andit's kind of a part of your life
.
It's now depression and it'skind of a part of your life.
It's now over and it's notgonna keep you warm at night.
(38:38):
So you know, it's nice to bookshows, it's nice to be doing
them, but at the end of the daythey always end.
So you need those relationshipsyeah is there a show or shows
you've auditioned for that youfeel like you nailed it and you
still kind of like, ah, that'sthe one that got away because
they'll do those things in 54Below.
It's like parts I didn't getand people kind of, I think,
still kind of hold on to some ofthese auditions.
Josh Lamon (38:59):
Eight million of them.
I'm also a psychopath in thesense that sometimes at these
auditions I'm like, well, whoelse are they going to cast?
This is me, this is just me.
And I get into this weirdmindset of like well, if they
don't cast me, they're idiots.
And like there was this jobthat I was up for where I really
felt as like this is me, thereis nobody else who can do this.
(39:22):
And then they cast, thinkingabout the you know, the bigger
guy community, and then theycast this you know Asian twink,
and I was like, oh, that wasn'tme at all.
No, but yeah, you get marriedto the idea of things, but you
just have to learn to let go.
And there are so many rolesthat I wish came my way but or
(39:48):
that I was convinced we're goingto.
I remember auditioning toreplace for one of the managers
in Phantom of the Opera, whichI've been a Phantom fan for, you
know, since I was a kid, andgoing into the audition it was
so cocky.
I was like who else?
This is me.
And I went in and then myfriend, bradley Dean, who got it
(40:10):
, was in, I think right beforeme, and hearing him sing like he
has an opera voice.
I was like, oh shit, it's notme, it's him, and sure enough he
got it.
But there's always going to bethe ones that get away.
Nicole Kelly (40:22):
Do you go in long run?
Because I'm always curiousabout this, because I used to
coach with Ann Nathan and shesaid something like she was up
for Madame Morrible and theperson who got it knew, knew um
joe montana yeah like fromchildhood and I was like, well,
why wouldn't they go back andlike cast you after she left?
if you're the second choice,like why is that something that
(40:44):
doesn't happen?
Like if you don't get it, youdon't get it.
I know I've heard stories aboutpeople being brought back, but
like sometimes, who knows?
Josh Lamon (40:50):
who knows?
I think ann is a genius.
I love her and I'm shocked thatshe hasn't been moreable.
Nicole Kelly (40:55):
I know right Now that you brought it up.
Josh Lamon (40:57):
But you just never know, there have been shows
where I was like for me ChicagoAmos in Chicago.
I was up for it a bunch andthen I was told well, walter,
bobby just didn't really respondto you at the end of the day
where it's like that's fairenough, but I haven't been
called back in since for it, andthat was like 10 years ago.
(41:20):
Now I'm at the point where I'mlike I think I'm a little bit
more appropriate for now, butmaybe that ship has sailed, I
don't know.
So, interesting that the castingprocess is bananas.
Things make very little senseno-transcript.
Nicole Kelly (42:00):
we were talking about being parents and that
happening and someone saidtheater's always going to be
there.
Theater's the kind of thingthat if you take a bit of a
break they're not going to belike, well, where the hell were
you?
For 10 years I've had peopleeven ask me you know, you know
kind of my journey and thingslike that.
So I think it's something youcan always come back to if you
(42:21):
want to.
Josh Lamon (42:22):
Yeah, you know.
Perfect example CourtneyCollins, who played one of the
principals in the prom.
She went to Juilliard, she, herroommate was Laura Linney and
they graduated and all thatstuff.
And then she said you know what, I want to move back to Georgia
and I want to get married andhave a family.
(42:42):
And she did.
And then years, years later,prom goes to Atlanta for the
out-of-town, she auditions as alocal performer, gets cast as
one of the principals and thennext thing you know, and you
know by now her kids are mostlygrown up, she's making her
Broadway debut at 50.
You just never know.
(43:03):
So you know there's no rhyme orreason to anything and anything
is possible at any time.
Nicole Kelly (43:13):
I think that's good advice.
Angela Lansbury was the guestspeaker at my graduation and her
advice was expect theunexpected, because you never
know, kind of where you're goingto end up.
Josh Lamon (43:26):
Yeah, you know, I'd say that is the hardest thing
about show business.
I this is going to sound darkand you know, maybe, know, maybe
, maybe it is.
But it's sort of similar tolike being addicted to a drug.
You're chasing a highconstantly and, um, you could be
(43:48):
so low and then all of a suddennickelodeon calls and they want
to see you for a cartoon, andthen you're like on top of the
world again and then so low.
You know, like it's just, thereare so many highs and lows to
this.
Nicole Kelly (44:03):
I think that a lot of actors also deal with mental
health issues.
Josh Lamon (44:07):
Yes, me too.
Nicole Kelly (44:08):
Well, you have to be crazy to want to do this.
Josh Lamon (44:11):
A little bit Because it's so unpredictable.
Nicole Kelly (44:15):
But yeah, it is very much like a drug, because
being on stage is a high andthen when a show ends, it's like
that deep depression, I don'tknow.
I love that kind of comparison.
I want to jump back tosomething you mentioned earlier
about going to Israel for yourbar mitzvah.
I want to talk about what?
Because, again, we're going tobe two-episoding this.
(44:37):
So I want to talk about whatthat experience was like and if
you've been back since and ifyou'd want to go back.
Josh Lamon (44:43):
Oh, I'd love to go back.
Nicole Kelly (44:44):
Maybe not today.
Josh Lamon (44:45):
Maybe not at this moment, but I would love to go
back.
It was very special, also veryunique, being that young and I
was never very spiritual,especially back then and all of
a sudden you're there and it'sjust.
(45:08):
I remember experiencingemotions that I still can't
describe, where, like you're notspiritual, but then all of a
sudden, you just are.
You just feel a presence thatyou can't fully comprehend, even
as a Jew, like I remember the12 Stations of Christ I think
it's called where you're walkinghis final journey or whatever.
Nicole Kelly (45:27):
Yeah, I've heard about this.
Josh Lamon (45:28):
I remember watching other people that were clearly
Christian or Catholic orwhatever.
Watching other people that wereclearly Christian or Catholic
or whatever, like really goingthrough something and how much
it moved me and being like, nomatter what religion you are,
what you believe, even it allhappened here.
There's something I mean like,even if you, the closest thing
(45:52):
that I could imagine is ifpeople have gone to rome you
know when you're there andyou're like oh wow, like I had
that feeling.
Nicole Kelly (46:00):
When I was in the coliseum I was like, first of
all, it's way smaller than youthink it's way smaller.
But but then you know, Iremember we we took like a
private tour of the coliseum andpalatine hill and the.
Uh, the guide was like in theyear 80 and I'm like what?
Yeah, in the year 80.
Josh Lamon (46:15):
And I'm like what, yeah, in the year 80?
It's bonkers, and then you'rethere.
Yeah, it's incredible.
Nicole Kelly (46:23):
Yeah, we were also in a car and they're like
that's where Caesar was killedand I'm like what Isn't it,
bonkers?
Yeah, it's crazy to be in theseplaces that are just so old and
millions upon millions ofpeople have walked where you've
walked.
Josh Lamon (46:36):
Yeah, it's where everything started.
It's where our religion started.
It's the cause of greatcelebration, great grief, great,
everything it's.
I would love, love, love to goback.
We were also lucky.
We did a tour of the entirecountry.
We got to stay in kibbutzes andnice hotels.
(46:58):
It was also a scary time.
It was when a lot of you knowthe bombings were happening,
like suicide bombings and stuff,and I remember we took a bus
once and being terrified, beinglike I don't want to be on this
bus, but it was just somagnificent and I wish, I wish,
(47:18):
and I know I appreciated it backthen, but I wish I could go now
so I could really appreciate itas an adult rather than as a
teenager.
Nicole Kelly (47:28):
You know, that's something that's so funny.
I feel that we've had someroles that I've had too, that I
feel like, oh, I bring somethingso different to this now that
I've had life experience it's.
It's kind of the same thingwith uh, with israel.
Did you read at the wailingwall?
Because I know people will goand they'll have, like they'll
have their bar mitzvah there wehad ours.
Josh Lamon (47:48):
I might be wrong.
I want to say it was on mountsinai, okay, um, but we did go
to the wailing wall.
I know I put uh prayers onthere, probably about being on
Broadway or something.
Nicole Kelly (47:59):
Well, it worked.
It worked girl.
Josh Lamon (48:01):
Yeah, it worked.
Just go to the Wailing Wall,get your wish.
Nicole Kelly (48:04):
That's my problem.
Josh Lamon (48:05):
I haven't gone to the Wailing Wall.
That's why I've got to be onBroadway.
Yeah, exactly.
Nicole Kelly (48:08):
Welcome to the Wailing Wall.
What's your dream?
Very different movie.
Pretty Balabusta yes, verydifferent movie.
Josh Lamon (48:25):
Yeah, so I think that answered the question.
Nicole Kelly (48:29):
Yeah, yeah, yeah.
Josh Lamon (48:30):
One of my favorite experiences was Into the Woods
in Central Park with Shakespearein the Park.
It was epic and it was reallystrange too.
I auditioned for the role ofthe steward and the director,
timothy Sheeter from London, Ithink, was fascinated with me.
I was so strange and weird.
I was wearing this silverbrooch with cats on it and he
(48:54):
was like can you come closer?
And what are you wearing?
And I was like it's a brooch.
And he was like and then it wasthe weekend.
I asked my agents if they gotfeedback.
My agents were like I don'tthink this is going your way,
sorry, and I sat Shiva for thejob over the weekend.
And then Monday I had an offerbut there's something magical
(49:15):
Granted that production.
It had like a four story set.
The stage was mulch, we were incentral park when it rained,
you were being rained on andthen you were performing in mud
and um and doing Sondheim, whichis not easy.
Nicole Kelly (49:32):
For those of you that are not familiar, Sondheim
is like the Shakespeare ofmusical theater.
Josh Lamon (49:36):
It's the highest echelon, the highest Andon the
highest, and it's complicated,and also like you would have
raccoons fighting on stage whileyou're doing scenes.
Nicole Kelly (49:48):
Okay, they are rebuilding the Delacorte, but I
have heard that raccoons willtake up residence in the
Delacorte and it's like a bigproblem.
Josh Lamon (49:55):
Yeah, during the song Agony, one night night two
raccoons got into a fight on thestage.
A fight, um, you know so Ialways called it like you know,
like into the woods, was likebroadway survivor, you know it
was.
It was really intense but andalso it would be miserable.
(50:16):
You're performing in arainstorm, it's 80 plus degrees,
you're dehydrated, you're like.
Now I have to run up fourflights of stairs and sing, you
know.
But then you're sitting in thewings and sondheim is standing
next to you crying and you'rehappy tears and you're watching.
Donna murphy, my goddess, myfriend, my love.
(50:39):
Nobody does it better.
Belting out the song the lastmidnight while there's a full
moon behind her, wind is goingcrazy and there's rain and a
storm and she's the witch.
And I mean, when does thathappen?
That is magical.
That is theater like you willnever experience and those
(51:01):
people that did they will neversee anything like it again.
That to me is like some of myfavorite, favorite, favorite
moments in my career and in justseeing theater.
Also just like the memories ofstanding next to, to stevie's
downtime, while he's like crying, watching his show, like and
(51:25):
you know, and I don't want tomake people think that I was
close to steven because I wasn't.
We just did that show together.
And to prove that point, yearslater I did a um, a theater was
honoring him and I was asked toperform and sing Not While I'm
Around and I did it.
And then after the show I waslike Steve hi, josh, we did Into
the Woods together and he wasmuch older at this point and
(51:48):
just looked at me and he was sotired and he was like, if you
say so, you know, like highs andlows folks, highs and lows.
Nicole Kelly (51:58):
It can be glamorous and then not glamorous
.
Have you done like Jewish shows, like Fiddler.
I know you just did theJerusalem Syndrome.
Josh Lamon (52:06):
I did the Jerusalem Syndrome, which I wasn't able to
see, but.
No, no, in high school I wasTevye in Fiddler my sophomore
year and I was wonderful.
You brought all thatler mysophomore year and um.
Nicole Kelly (52:19):
I was wonderful you brought all that life
experience as a 15 year old.
Josh Lamon (52:23):
Yeah, exactly um, yeah, as a closeted Tevye.
Um yeah, no.
Oddly enough, it's like it's adream of mine to be in Fiddler
and nobody will see me for it,which I mean is fine.
But yeah, no, I can't.
I don't think I've ever playedanybody that was necessarily
(52:49):
Jewish.
Yeah, but I would love to.
I would love that.
Nicole Kelly (52:54):
All right.
So these last questions arekind of short form questions,
done like the actor studio, soyou can pretend I'm James Lipton
and you're on the show.
Okay, so what is your favoriteYiddish word?
Josh Lamon (53:12):
It's for like a woman, that's like an incredible
, like babble, oh gosh, oh, Iknow this.
I know this.
Why is it A balabusta?
A balabusta?
Nicole Kelly (53:30):
I'm not familiar with that.
What does that mean?
Josh Lamon (53:33):
It's like you, nicole.
You came here.
Your home's beautiful, you're agreat hostess.
I got a beautiful mug of nicecold water.
You're a balabusta, and thenthe other ones obviously, like
schmuck and schlep and all thatkind of stuff.
What I love about Yiddish is itreminds me of Italian.
(53:54):
It's so performative.
Nicole Kelly (53:56):
Like it's.
Josh Lamon (53:57):
You know it's like.
It's like dancing when you'resaying it, like I had to schlep
over here Even not knowing whatthat means.
You know what that means.
Nicole Kelly (54:06):
Yeah, I love Yiddish for the same reason.
What is your favorite Jewishholiday?
Josh Lamon (54:12):
Um, hmm, I don't know.
Maybe Purim I love to dress up.
Yom Kippur always scared thedaylights out of me when I was a
kid, Like hearing the rabbi belike some by fire, some by water
, being like oh my God, this isa horror film.
(54:34):
Please don't kill me.
Nicole Kelly (54:37):
You know, you should, speaking of israel, you
should go to tel aviv for purim.
I hear it's like a big danceparty, but there's also like a
big gay scene in tel aviv well,what's rad about my mom?
Josh Lamon (54:47):
I was obsessed with punky brewster when I was a kid
yes, and millennials.
Yeah, and I, I went as punkybrewster to our temple purim
carnival at like maybe secondgrade, and my mom was like, like
, looking back as a being, like,oh, that was like the early 80s
.
And for my mom to be that like,yeah, you can go as punky
(55:08):
brewster, I don't care andnobody made a big deal out of it
, I was just punky brewster, Ididn't want to be king of
hushwares, like a wig with, likea wig with, like the pigtails,
I think no, I had like longenough hair that my sister made
pink pigtails and we sprayed itblack, you know.
Nicole Kelly (55:24):
If you were to have a bar mitzvah today, what
would the theme of your party be?
Josh Lamon (55:30):
Something ridiculous .
It would be something so absurdit wouldn't be Broadway, I
don't know, maybe like aSchitt's Creek kind of thing, or
, or, like, or like even folksthat more like a night of 1000
Moiras, you know, it would be soout of control and absurd and
campy and ridiculous yeah.
Nicole Kelly (55:52):
What profession other than your own would you
want to attempt?
Josh Lamon (55:56):
I love the idea of being a therapist.
I also really love teaching.
I've been teaching a lot and itfills me up in a way that
theater did when I was 18 andjust starting out.
I love that and if I had like arandom dream job I'd want to
work in, probably criminalpsychology or forensics.
(56:20):
I am a little true crimeobsessed and I would love to
work in that, or I love the ideaof it.
I don't know the reality of it,you know, but like solving
crimes and locking up bad guys.
Nicole Kelly (56:38):
If heaven is real and God is there to welcome you,
what would you like to hearthem say?
Josh Lamon (56:43):
Hey queen.
I don't know I would like a hug.
I would like to see mychildhood dog and all my loved
ones who have gone before me.
Nicole Kelly (56:56):
Is there anything else you want to talk about or
plug?
Josh Lamon (57:03):
I know we talked about not wanting to do
self-promotion, but the onlyother thing I guess that I do is
I'm a member of this really funmusical improv team.
Nicole Kelly (57:11):
Yeah, I saw you posting about this.
Josh Lamon (57:12):
Talk about what that is, it's called Schitt's Probe
and basically in theater there'ssomething called a Schitt's
Probe where you you.
Nicole Kelly (57:19):
It's not about you .
It's not about the actors nope,it's uh the.
Josh Lamon (57:23):
The performers and the orchestra rehearse together
for the first time and it's areally magical experience.
So we're called schitt's probeand it's some of new york's best
uh improvisers.
And we take a Broadway or TVicon that doesn't necessarily do
improv and we make them thestar of an improvised musical.
(57:44):
Everything is improvised lyrics, dances, dialogue.
We have a band that are alsoimprovising as we go along and
it's so much fun.
So I'm obviously taking a breakduring Death Becomes Her, but
it performs twice a month in NewYork at the Asylum and it's
definitely worth checking out ifyou're in the city, and I guess
(58:06):
you know.
I do want to emphasize that,though it may seem like, when
we're talking about showbusiness and the experience of
it, that it is negative, it isalso quite joyful and there is a
lot of love here.
It is very difficult, but it isalso very rewarding and very
(58:28):
beautiful, and so if you'resomebody who loves art in any
shape or form, I thank you andcontinue loving art, continue
sharing art and also, like ifyou love theater or want to be a
part of it, but don't want togo for it professionally, I just
want you to know that.
That is so okay.
That is wonderful.
There are so many ways like tobe an artist and no matter what
(58:53):
you do in your life, nobody cantake away that you are an artist
, period, yeah.
Nicole Kelly (59:01):
Well, on that note , thank you so much for joining
me, josh.
This is Nicole Kelly, and thishas been she Brewing the City,
so I hope you enjoyed the secondhalf of that episode.
So I have a small request fromall of you.
I know you're listening outthere, but I don't know who you
are.
Please follow me on Instagram,send me a DM comment on my
(59:22):
photos, follow me on my babyTikTok account, which has less
than a hundred followers, and besure to subscribe to my Patreon
.
We have some merch coming.
I also am going to beparticipating in a giveaway the
week before Hanukkah with someof my past and future guests, so
be sure to follow me onInstagram and keep a lookout for
that.
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