"Three's Company" - An Interview with the 3G Collective (Part 2) - Shebrew in the City

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Nicole Kelly (00:00):
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I'm Nicole Kelly and we areback with part two of talking to

(00:34):
the 3G Collective and we'regonna transition from talking
about gender generational trauma, at least for a moment, and
talk about art and theater.
So I want to start with John.
So you're an actor, a directorand a choreographer.
How did you first get involveddancing and then how did you get
involved choreographing andteaching dance, and can you talk

(00:54):
about some of your favoriteprojects that you've worked on?

John Reed (00:57):
Yeah, If anyone knows the musical A Chorus Line it
was eventually Never heard of it.
Never heard of it.
Right, never heard of it.
What?
Well, there's a no, essentiallythere's a song from A Chorus
Line called I Can Do that, whichis about one of the male
dancers on the line talkingabout how he got into dancing,

(01:19):
which was by watching his sisterdance.
And that is essentially whathappened to me watching his
sister dance.
And that is essentially whathappened to me.
My sister, you know, at aboutsix or seven, started taking,
you know, little dance classes,and when we would go to pick her
up I would watch some of theclasses and see some of the boys
there and think, oh, actuallythat looks like a lot of fun, I

(01:39):
kind of want to do that.
And so mom was like great, andshe enrolled me in dance class.

I was about- how old were you in this?
Yeah, how old were you?

John Reed (01:48):
I was about nine or 10.
Okay, so you were like a fullyformed child and bodily
awareness.
You weren't like my daughter.

It's because my daughter's in ballet and
sometimes I'm like thesechildren have no control of
their bodies.
Oh, yeah, yeah.

John Reed (02:00):
No, I was, yeah.
I mean, I definitely had a lotto learn, but I just really took
to it.
It was the only sort of thingthat I ever was motivated to try
to get better at.
That was one thing Like I hadeven when I moved to Australia
and I joined my the local Jewishcommunity basketball team and I

(02:20):
was trying to do all thesesports and stuff and I was just
like I'm thinking of that BillFinn song about the Jewish
people playing baseball.

Shany Dagan (02:28):
May his memory be a blessing.
I know, I know.

I immediately sent you a message.
I was leaving the museum and Iwas just starting to cry on the
train because talk aboutintergenerational trauma music.

John Reed (02:42):
Oh my God, if you do not know, who Bill Finn is.

please Google Bill Finn.
He wrote a musical calledFalsettos, which is my heart.
It's one of the most Jewishshows ever written and his
Jewishness kind of bled intoeverything that he wrote.

John Reed (02:54):
Beautiful songwriter.
So I was essentially.
I just noticed that, even that,everything that dance was the
only thing that I actually everreally wanted to improve in and
get better at.
And then I finally, you know,started really taking it
seriously at about 14, 15, whereI was going, you know, three

(03:16):
days a week after school and onSaturdays to dance class, and I
started taking acting classesand singing lessons.
I was like this is my direction, this is where I need to be,
and then that luckily got meinto a really great college in

(03:36):
Australia where I studiedmusical theater as a degree.
Big money maker, those BFAs, bigmoney maker, oh yeah oh yeah,
Especially in Australia in acountry of only 20 million
people.
The industry there is evensmaller.
But what was great, though, wasthat I actually only actually

(03:58):
started properly choreographingafter college.
I was not intending to reallychoreograph at all, and in a way
there's a part of me that stillfeels I'm not sort of meant to
or sort of I feel like a realchoreographer.
But I essentially helped starta Shakespeare repertory company
or was part of the founding of aShakespeare rep company, and

(04:18):
after a while they realized Iwas doing most of their shows
and they realized that I was adancer, and so they started
asking me to dance captain.
And then eventually theystarted asking, asking me to
choreograph some of theirproductions.
Some of them I was in and alsochoreographed, which also was a
massive headache, and I don'tthink I ever want to choreograph
a show slash, be in one atleast in a, in a musical or a

(04:39):
play setting Um, because thatwas a lot, but was um?
I really started to sort of getget into it more just because
people asked me to do it.
Um, and I have always been andwas sort of raised in the style
of real jazz ballet techniques,so real and especially, you know

(05:00):
, with a lot of storytellingthrough movement.
So influence influenced by likeJerome Robbins and later on
particularly Christopher Wheldonand real, you know ballet
choreographer who can tellincredible stories through
movement, really kind of were myNorth Star.
And then I actually thenstarted developing this real

(05:21):
love for like making dance filmsand seeing how I could film
dance and create little minivignettes or short narratives
that were all danced and allfilmed, which also has kind of
become a new kind of love ofmine.
That I've made maybe about fourso far and I'm definitely into

(05:42):
making more.
But in terms of my performingcareer, I mean I was very lucky
to be able to do a fantasticproduction of West Side Story in
Sydney.
It was actually done outside onSydney Harbor.
It was sort of Very cool.
If you think of the Muni stagein St Louis, it was about that
size, that's a very big stage.

They Like they have full on, like horses on
that stage sometimes, but it wason the water in front of the
Sydney Opera House and theSydney Harbor Bridge.

John Reed (06:12):
It was an extraordinary experience Got to
do mainly yeah, and a lot ofmusicals there.
No-transcript.

(06:45):
I was so excited to get tofinally do the.
Do it as an adult.

Yeah, yeah, yeah, um fit on the roof, you know.

I've never been casted because they told me I
don't look Jewish enough.
Okay, I just had to jump inthere.

Jana Krumholtz (07:06):
That's so good, I was like we just need to put
up our own.

John Reed (07:09):
I was just going to say let's just do it ourselves.
I will do that.

I will come out of retirement.
I have spent a lot of time inAnatevka.

John Reed (07:16):
Oh yeah, that's my family.
Yeah, I mean I could grow themeanest rabbi beard.
It was huge and disgusting.
It was so good, um, and thenactually I was.
I was really, uh, lucky to beable to make my off-broadway
debut with yeah, I want to talkabout that.

That was my next question, oh great well, I'll
include so talk, talk about amidfalling walls.

John Reed (07:43):
I want to hear about.

I want to hear about that and how you got
involved with that.

John Reed (07:47):
Yeah, so well, funnily enough, in terms of
getting involved, I was actuallygoing to be cast in the
Australian production of Fiddleron the Roof in Yiddish by the
folks being that they were goingto bring that really successful
production of Fiddler inYiddish to Australia, but it
didn't happen because of COVIDYiddish to Australia.
But it didn't happen because ofCOVID.
But, having that sort ofconnection, I got in touch with

(08:09):
them when I moved to the States,essentially just to say, hey,
you know, I was going to be inyour production in Australia,
but I'm in America now and, youknow, would love to connect, and
they were actually bringingFiddler in Yiddish back for like
seven weeks at the end of 2022,which I went in and auditioned
for.
I didn't end up getting, butthat then allowed me to kind of
get in front of them again.

(08:31):
And then they reached outessentially asking to do a
reading of this new musical thatthey were developing, which was
essentially a review, calledwell, in Yiddish it's Zvishen
Falendik Event, which means AmidFalling Walls, which actually
is taken from the partisan hymnthat we sing every day on Yom
HaShoah, and it was essentiallya collection of songs that were

(08:53):
collected, actually by theartistic director's parents that
they collected all of theseYiddish songs that were written
in the concentration camps andthe ghettos and we essentially
kind of did a review of theseYiddish songs that were written
in the concentration camps andthe ghettos and we essentially
kind of did a review of thesesongs and then we put it up as a
full production in February notFebruary, november and December

(09:15):
of 2023 at the Museum of JewishHeritage in Battery Park, and I
was a swing and dance captainin that.
So I actually never went on, um, because it was only a four
week run.
Um, so, and I was actually muchmore than like a creative.
I felt much more like, you know, an assistant or as an
associate choreographer asopposed to an actor in it.

(09:37):
Um, but it was a really, it wasa beautiful group of people, um
, uh, steven Skybell, actually,who was Tev in Fiddler in
Yiddish and is currently playingHerr Schultz in the current
Broadway revival of Cabaret, wasin it with us, as well as many
alumni from Fiddler in Yiddish,and it felt incredibly powerful
actually to be playing Jewishpeople singing songs,

(10:01):
particularly like songs aboutthe partisan fighters and songs
about, you know, yelling thelyrics Jews have faith, let them
go to hell.
Like that was literally one ofthe lines and it was like it was
one of the most powerfulmoments where I really saw Jews
like screaming and fighting backin a way that I hadn't before

(10:26):
and I was really honored that Icould and, actually, as a little
tidbit, that we had thesescreens across the audience that
showed old photos and videos ofthe time and at the end there's
a beautiful poem that's spokenabout a boy who has his bar
mitzvah in a DP camp and we showpictures of weddings happening

(10:50):
and bar mitzvahs happening in DPcamps.
And I actually asked, and I got,to include the wedding photo of
my grandparents in the end ofthe slideshow.
They weren't married in the DPcamp but I wanted to include
their wedding photo.
And I got my mom on FaceTimeduring tech and I showed her.
I was like guess what, lookover there.

(11:10):
And she was at work and shegoes oh my God, that's my
parents.
And then just broke down cryingat work.
And so I was.
Really it meant a lot that Icould have them with me on stage
.

I love that Sorry that's me done.
No, no, no, no, no.
That was my next question.
That was the question I wantedto ask about that Because I know
it was probably, like you said,a very personal experience.
So, shani, you are also adancer and choreographer and, as
I mentioned, you're a fellowAMDA alumni.
How did you first get involvedwith dance?
I know nothing about anythingother than film out of Israel.

(11:47):
I don't know really about thetheater scene and the dance
scene.
Can you tell me how you gotinvolved with that and some of
the projects that you've workedon that you've been really
passionate about?

Sure.
So I don't know who I amwithout dance.
I will start with that.
I started when I was three andnever stopped.
My sister was a dancer untilshe was 18.
And so I kind of followed herlead.
But I really fell in love withit.

(12:18):
I kind of knew from, let's say,eight that this is what I want
to do, from, let's say, eight,that this is what I want to do.
And I had to go to the Army aswell, and so I really wanted to
go as well.
So I auditioned to try and getinto an excellent dancer program

(12:39):
during the Army, which isbasically what it says is that
it's recognizing you as anathlete, um, and giving you time
to go and pursue your, your um,sport.
So for me it was dance, and Iwas one of the.
I was picked um from the jury,uh, to be one of their um

(13:04):
dancers.
That goes dancers, that goes asan artist, to stay and perform
and study while I was in thearmy.
So it was very, very special andI was recognized as an
outstanding dancer in Israel andso that kind of gave me the
opportunity to go to New Yorkand try theater, which I've

(13:29):
never tried before.
Actually, I was a moderncontemporary dancer, very, very
strong scene in Israel ofcontemporary dance.
So I was sure that I'm going togo into companies and tour the
world and the whole thing.
But I fell in love with theaterwhen I came to New York and did
this Broadway Dance Centersummer intensive.

(13:52):
When I came back to Israel Idecided I'm going to look into
more theater which wasn't asdeveloped as it is now.
It's more developed now butit's still not in the same level
as New York.
And so when I finished myservice I decided I'm going to

(14:17):
audition for AMDA and I said tomyself if I get in it's a sign
and I'm moving.
And I didn't believe I'm goingto get in.
And then I got in and I waslike oh well, now I have to
follow through.
I know you've got to do it, yes.

Oh no, I have to move to New York, that's so new?

Yeah, exactly, and so I really I couldn't believe I
actually got accepted and I'vedecided I'm gonna move and I
moved at 2013 and did the whole.
I did a year and a half, so Ijust did all of the semesters,
one after another.

I did the same thing any break.

Yeah, and I'm actually really excited because
I was invited to choreograph forthem this summer.
Um so I'm really, reallyexcited for this.

At the LA campus or no.

Actually in New York they have a summer festival
for the dancers.
I didn't know that, for thewhole school actually and so I
was invited to choreograph forthem, and I'm very honored.
It's like a full circle for me,and after that I just started
auditioning.
I kind of went through thewhole path of non-union dancers.

(15:33):
5 am being on the run.

Real life chorus line.

Yeah, yeah, real life chorus line and I was very
lucky to have landed my firstjob with RWS.
I will never forget it, becauseit was my first job in New York
that I felt like, oh my god,I'm actually doing this, you
know, and that was one of themost impact like work that I've

(16:02):
done, starting up and startingup and RWS, uh, send me to
Holland America cruise lines,which I started my, my cruise
ship tour, and that was veryexciting.
And actually that's when Ifound the um aerial work, um,
that was my next question.

(16:23):
Yeah, so that's where I startedmy circus work.
That was my next question.
Yeah, so that's where I startedmy circus work.
I fell in love with it.
I'm also a personal trainer forthe past 15 years almost.
And strength women's strengthwas one of my most important and
interesting things I've alwaysbeen interested in.

(16:43):
Um and Ariel was kind of the,the midline between the dance
for me and the strength uh work.
And so I've become really goodreally fast because I had that
Um and I fell in love with itand decided I'm going to go and
study circus and kind of startedthat path until COVID.

(17:09):
During COVID I kind of stopped,like everyone else, the world
just stopped and I decided I'mgoing to focus on choreography
in the meantime, because I hadnothing else to do and I've
always loved choreographing andI had a different voice, I think
, because I had contemporarybackground and I shifted into

(17:34):
theater and that's what broughtme into choreography.
So, as a choreographer, I'mtrying to find that thin line of
um, strength and I.
I work a lot with women, um,but I actually started with men

(17:55):
because, um, I wanted that likemuscly movement, I wanted the
floor work, I wanted, um, yeah,that's, that's basically where I
started, and then I felt like Ineeded to shift that world of
masculine into the world offeminine and I took it into into

(18:17):
a different path.
So a lot of the work that I'mdoing now is about um, strong
women, women's uh, empowerment,um, that's kind of where I'm,
where I'm at right now.
Um, and I also want to speakabout another really, really
important work that I'm reallypassionate about and kind of

(18:38):
changed my life.
I found this wonderful woman.
Her name is Fran Atkins,spector, and she has a company
called Spector Dance and it'sactually in California, in
Monterey, and she offered me toat first.
I dance with the company andthey do projects that basically

(19:02):
dedicate the work to make achange in the world, and so her
work really really spoke to meand it's not just dance, it's
dance to make something betterand I really really fell in love
with it.
And eventually she offered meto join their board, and so I'm

(19:23):
also on the board for thecompany and every month we have
a meeting and it's so fulfilling.
And this woman is is amazing.
She's, um, over 80 and shestill creates, and so I just
want to kind of give her a shoutout and just I, I love her work

(19:44):
and I think it's so importantto take our art and make it into
something.
How did you?

meet her.

Funny question.
My friend was her student whenshe grew up and they needed
another dancer because one ofthe dancers got hurt.
And she asked me if I wanted tocome in just help
pre-production for her new showand I said yes, sure, no problem

(20:15):
, and we kind of fell in lovewith each other in the room.
Yeah, I really liked how sheworked although she was like all
over the place and she's goingto vouch for that but her work
was so passionate.
She's really passionate aboutdance.
She's really passionate aboutmaking changes and just do

(20:38):
better.
And we just we kept in touchafter that one show and then she
offered me to be a soloist inanother show that she did and
she flew me into LA and I didthat work with her and we just
kept on going from there.

I love when people meet artistically and just like
, yep, you, I.
I feel like we've all kind ofhad those moments, yeah, okay.
So Jana, you, like the rest ofus, are performers.
How did you get your start withthat, and can you talk about
some of the favorite projectsthat you've worked on?

Sure.
So I have like anon-traditional route to being a
performer.
I didn't go to school for it.
I grew up dancing.
I started at three, same asShani, and I fell in love at
like five.
I think I knew it's what Iwanted to do, obsessed all the
way, and chorus line was themovie that made me want to do it

(21:36):
all when I saw it.
I watched over and over againand I get in trouble for
watching it because of the dirtysongs of you know whatever.
But um, um.
So, yeah, going to school, forit wasn't an option and I didn't
, yeah, I didn't.
I didn't have the strength tolike break up the family at 18.
I had the strength to do it at22.
Um, so I went to college foreconomics and nonprofit

(21:59):
management and, um, and alwaysin the back of my mind, like I
knew, I wanted to go to schoolin New York so I could be in the
dance scene.
So I started like coat checkingand catering and just saving
money on the side so I'd be ableto figure it out.
Um, when I graduated college, Igot a bartending job and um was

(22:21):
like, here we go.
So I was just kind of like alost, wild child trying to
figure out how to become.
I had no guidance, I didn'thave anyone telling me how to do
it.
So it was.
It was a messy, wild time butthrough choices and different
things, I I guess.
Um, I had an internship at anagency.
I auditioned for Alvin Ailey'spre-professional program and got

(22:43):
in.
So I did that for six monthsand then I was looking around
and I was like what am I doinghere?
Like I want training.
But I'm not going to be in acompany.
Like what am I what?
What am I doing here?
Like I want training but I'm notgoing to be in a company Like
what am I what, what am I doing?
And so I left that.
I auditioned for um.
There's um, a pretty well-knownum street jazz choreographer
named Rhapsody James, and thiswas at the time pre Instagram

(23:06):
she was doing.
It was like the very beginningof dance intensives in the
commercial world.
She created something calledmotivating excellence and it was
like a four month program.
She only took 10 girls, 10 guys.
You had to audition.
You had it was four to fourdays a week, from eight to three
or nine to three, and it was socheap, bless her heart, it was
so affordable, um, and there wasa performance at the end of it

(23:26):
and you were just under hermentorship and you trained in
partnering for the commercialworld, heels on camera, like
commercial audit, just like itwas.
It was a commercial danceintensive and that was huge for
me because I had dreamed ofbeing in that and I got to do
season three of that and um, andI guess after that's when it
all kind of began and justrandomly auditioning time and

(23:48):
time again for agencies and allthat stuff running around like a
nutso person.
And so I started doing gigs inNew York and you know, you meet
people and they help you out andall that stuff, and so I guess
I did like a little tour with anartist, things like that.
My most favorite jobs weredancing on SNL.

(24:08):
It was like such a crazy whatJohn's like.
I didn't know this, what.

Tell me about this .

So she, this woman.
It's kind of like when you meeta woman.
So I knew I was going to workwith this woman and I auditioned
a bunch and then I finally gotto.
Her name is Danielle Flora.
She's known as, like the comedychoreo queen of New York city.
She's kind of what a what atitle.
Yeah, she's kind oftransitioned out a little just
cause she, you know, she did itfor a long time but she was the

(24:41):
resident choreographer at 30rock building for all things
comedy.
So she's, she was the residentchoreographer of SNL for 15
years.
She did 30 rock episodes.
She did like anything JimmyFallon, like anything in that
building, and then the moviesthey would do like Amy Schumer
movie.
She was the one.
So I got to work with her andthen we fell in love and I got.

(25:02):
I mean, I owe that woman.
So many of my dreams have cometrue because of that woman.
Um, so I think that my first,the first time she hired me, was
actually for lip sync battle.
That was before any of the SNLsand before lip sync battle was
lip sync battle.
The audition was listed as it'sa Jimmy Fallon like sketch
spinoff series.
That's like green lit for 10episodes and like nobody knew

(25:24):
what it was.
It didn't have a name yet, um.
So I remember going to thataudition and some girls leaving
being like what's this for?
And I don't go.
This choreographer like, doesso much stuff stay?
Blah, blah, blah.
So that became Lip Sync Battle.
So I booked that and that waslike the biggest, most exciting
thing and we filmed 10 episodesin 10 days and then it got
greenlit for eight more.
So that was LA and you know,and re-auditioning, flying

(25:47):
yourself out to LA, making itall work, all the things.
And you know, re-auditioning,flying yourself out to LA,
making it all work, all thethings.
But that experience changed mylife and because of working with
her for that, daniel Flora thenjust kind of calls you.
So that's how I got to do SNLand I got to do the opening
monologue.
Dance with Scarlett Johansson.
I got to do the openingmonologue dance with Elizabeth

(26:07):
Banks and I got to do like withwhat's the guy's name from?
He's such a famous older actor,bald white guy, JR Simmons or
JK.

Simmons, who also is a musical theater guy.
He was in that 90's revivalwhich.
I didn't know.
My husband was like oh, youdidn't know that.
I was like oh, yes, like that'scommon knowledge.

JK Simmons was in.

John Reed (26:30):
Guys and Dolls this is the conversations I have at
my house those are greatconversations I know what I'm
good, what I know what I'mlooking up the scarlet johannes.

One's really funny and I was so nervous
because I was.
Yeah, it was just scary.
Like you get one, it's justscary, but it's so exciting
because that.

But anyways.

So yeah, so I've .
I've been really um, all of mycommercial I can say most of my
commercial dance streams cametrue and I and especially with
Lip Sync Battle, where it was aconsistent paying job and I got
to dance with some of my closestfriends making people laugh was
such a dream.

Are you in the one with Tom Holland that I see I'm
actually?
You are not.

I'm never next to the star and I'm literally
I'm right next to him, on theleft, when he's I that comes up
on my social media feed likeweekly I wish I got residuals
Every time someone YouTube thatI wish I got paid, but I only
get paid if someone like buysthe episode Like.

I get five cents or whatever.
I mean big money.
Dancing is big money, kids, ifyou're, if you're thinking of
going into the arts.
You know, this is yeah um,that's so cool, yeah.

So I did that.
That was amazing and it movedme out to LA and I ended up
staying and what's funny is how,um, uh, like I didn't.
Again, I didn't have like amentor, I guess, or you know, I
was still in a phase of thinkinglike, oh, this, I must be doing
something wrong.
So, even though I had successbeing in LA, the world felt very

(28:01):
different and I didn't.
I didn't click with all the waythe dancers wanted to be, why
they wanted to dance as much asI did in New York.
So a part of me started to say,oh, maybe, like, maybe, dance
isn't for me out.
And I actually dove so hardinto acting and fell in love
with acting and put myselfthrough my own kind of grad
school program with acting and Istarted taking writing classes
and then that led to me doing myown show and then now I've

(28:24):
actually started a theatercareer quite late, might I add,
but I just did my first musicalat 36, but I did it.

What musical did you do?

stream I've ever had um a new world premiere
musical of three summers ofLincoln okay just closed at La
Jolla Playhouse.

That's a big venue that's yeah, or as I used to
call it, la Jolla.
I definitely called it La.
Jolla yeah that's amazing look,gene hackman um, which we can
unpack that if we want um didn'tmake his first movie until he
was 35, so I I am a big.
I am a big believer.

(29:00):
I mean, I'm about to have achance, yeah I'm a big believer
in making things happen late inlife.
I think there's this myth thatyou have to be successful.
Yeah, 25 or something, like I.
I was not a fully formed humanat 25.
And even if I had achieved whatI wanted to like career.
I wouldn't have known what todo with myself, and I probably
would have become like analcoholic I am.

You know LL Cool J was like my boss for a bunch
of years, but beyond that, hismotto dreams don't have
deadlines has like stayed withme so hardcore from the moment
of hearing it.
So I just believe it.

I love that.
So now we're going to jump intoall of you guys together.
So you recently created a thirdgen collective.
Can you talk to me about howthis happened, the projects you
want this specific collective towork on now and in the future?
We'll jump into your individualshows in a little bit, but I
want to specifically focus onall three of you together.

I think, shani, did I find you, did I like stalk
to you?
Yeah, that's what I did.
Oh, I love it.

I love it.
Yeah, tell me this, because Idon't know this part of it, tori
.

So I had been working on my show and then I
know the composer for and themusician for Shanice show, luke,
and so I follow him onInstagram good old Instagram and
so I he posted about this showhe was doing called third gen,
and everything in my body waslike what?
And then I started looking atit and following it, being like

(30:25):
but this, I'm wait, what?
Like this is someone, this iswhat.
And so it was.
I don't remember what night, Idon't remember what season I,
but like I went alone to see hershow.
I think I only told John I feltlike I was like a, like a
stranger in the night, just likegoing.
I sat by myself because I knewI was going to also get very
emotional and it was going to bereally intense for me, um.

(30:47):
So I remember sitting by myselfin like the middle back, um, and
and it was so beautiful and Iwas just like it felt like such
a special event with someone Ihad never met but I I felt
instantly so connected to andshe did a gorgeous talk back at
the end and I was like sonervous and I was like I don't
know.
And then at the very end, Ijust was like you have to, just

(31:16):
you have to say something, andso I shared.
You know, I don't even.
And then, at the very end, Ijust was like you have to, just
you have to say something, andso I shared.
You know, I don't even remember.
And then afterwards, her andher husband, shani and Raviv,
are two of the kindest, mostgenuine people I think I've ever
come across, and so they wereso lovely.
Yeah, I love you guys.
They were so lovely, and so wejust connected and um, and then
when I did my show, shani waslovely and she came to see that.
So that's how we first met.

John Reed (31:36):
Yeah.

Yeah.

John Reed (31:39):
And what's funny actually is that the show that
Jana just closed Three Summersof Lincoln is actually how I
came into the picture.
Wait, was Eric Anderson in thisshow.

Yeah, came into the picture.
Wait, was Eric Anderson in thisshow?
Yeah, my husband did.
We're going to cut this Wizardof Oz with his late father in
like 2008.
Wow, because theater geography.
Yeah, because I was likebecause I was like, oh, he left
Gatsby and like I occasionallysee him and his wife in the
neighborhood and I was like whatare you?
Doing.
Yes, I figured yeah.

What a gem that guy is.
I love that man.

Yeah, so there's like three people in theater.
Anyways, back to it.
So how did you get?

John Reed (32:19):
involved.
This is the funny thing.
So I go to an audition forThree Summers of Lincoln, which
is the show that Jana justfinished being in, which was
actually choreographed by herpartner, john Rua.
I had never met him before.
I knew who he was.
He had been in the originalcast of In the Heights and

(32:40):
Hamilton and he is a streetdancer with a capital S, capital
D.
I am not.
I went to that audition thinkingfor sure I was going to get cut
first round because it was veryHamilton like and you know.
But on another level, and forsome reason he kept calling me
back and I managed to get to thefinals for three summers of

(33:04):
Lincoln, for the for, like thelast round, I didn't end up, uh,
booking the, but he wasincredibly kind and reached out
to me and a couple of otherpeople that came and auditioned
for him and said, if you want toexplore the style more and
loved what you had to bring inthe room, come to these pop-up

(33:25):
classes that I'm going to beteaching.
And I was like, well, I mean,he sees something in me that I
clearly don't, so maybe I shouldgo and explore this.
And the first class I was soout of my depth and absolutely
petrified and just.
I was like this isn't me andstuff.
But that's actually where I metJana and she said some

(33:45):
incredibly lovely things to meand we kind of hit it off.
And then I find out that she'sjewish, and not only that but
before this john.

So john's colombian, but he's like such an
honorary jew like he's.
He just loves everything jewishand and is happy about it, but
he, that's like one of the firstthings he's like.
He's like you gotta meet thisguy, john, and he's jewish,
because he knows how I'm, howdesperate I am, like there, I
don't know jews in thecommercial dance world, like
maybe in theater, but I neverhad any.
Jewish dance friends.
So that was also like thisthing.

(34:17):
He's like he just knew that wewould connect in a way.

John Reed (34:22):
And then, when we talked and then realized that
not only were we third gen, butalso our grandparents came from
the exact same town, we werelike, all right, we need to get
coffee, like now.
So our grandparents came fromthe exact same town, we were
like, all right, we need to getcoffee, like now.
And we just like went throughall of our family history and

(34:55):
all of our, and especially thefact that we were all really
passionate about trying to findways to tell you know, make our
own art, because, you know,always I think about is, you
know, we, we too often do, butwe shouldn't wait for permission
to, you know, be artists.
We gotta, we gotta make thework ourselves.
And I think this wasparticularly you know, work that
actually I felt like I couldmake on my own.

(35:18):
But then meeting Jana, and thenJana told me that Shani was
going to be doing her show, anextended version, at Perry Dance
Center and I was like, okay,well, I'm going to go book a
ticket.
So I went in completely not evermeeting or knowing anything
about Shani, and Jana just saidyou got to go to this show and I
was like, okay, and then itsaid at the in the program that

(35:39):
she, shani, was actually lookingfor other third gen people if
they wanted to bring theirstories to her to help actually
create pieces of art afterwards.
And I was like, okay, this iscool.
So then I ran Shanee down afterher performance which also was
just so gorgeous and beautifuland said Janet Krumholtz said I

(36:04):
need to come see you and I'm athird gen and I've got a story
you want to tell.
And I said, and I think thethree of us need to get on a
Zoom together very soon, and sowe did.
And then we managed to actuallycreate, yeah, like a 501c3
nonprofit which is dedicated totelling our third gen stories,

(36:28):
also showing not only ourgrandparents' story but also
talking about our experiences,um, being third gen as well.

So that kind of leads me to my next question.
My next question why is itimportant that the three G
stories get told?
What do you think theexperiences of grandchildren,
survivors, adds to the narrativeand knowledge of the Holocaust?

John Reed (36:56):
Why is it relevant and important?

well, I'm gonna jump please ahead and I'm gonna
say um one, I think it'simportant to know your history.
That's, that's the the baseline.
Um two, I think it's importantto honor your history, and I
might not know English very well, but I know that art speaks to

(37:20):
everyone.
Everyone hear music, everyonewatches movies, everyone not
everyone, but some people go totheaters and dance is a language
that speaks without words andspeaks to the heart, and I feel
like if we can watch somethingthat moves us and other people
can watch something that movesthem, and this kind of puts us

(37:44):
in a, in a level, like in abalanced level that no one has
to know, like an unbalancedlevel that no one has to know
words, no one has to know whathappened before, but you feel
the experience at the same time,then we are leveled and I think
that that's a very specialthing.

(38:06):
And that leads me to numberthree.
Our next generation needs, inmy opinion, to continue that
honor to the past and to learnfrom the past, which I feel like
we're lacking of sometimes.
And so that's kind of what Iwanted the third gen to be like

(38:31):
taking those stories and tellingthem in a different way than
maybe other people can feel andunderstand differently.
Yeah, I don't know if thatmakes sense, but in my head it
does.

Yeah, does anybody else want to speak on that?

Yeah, I guess for me that is it's like that's
where we all are.
This is a it's like we all kindof feel like there's like a
bridge for why we want to do itand we all are, we all are
aligned, but we kind of alsoland like like we're we take up
this whole span.
So how do I like I'll just speak, I, I guess I I start from

(39:10):
where Shani's speaking of thehonoring of the, of the legacy,
like I just, I think all threeof us from what we were speaking
about, you as well, jewishpeople, there's this um
undeniable gratitude for lifeand I can't deny feeling it and
I every moment, every breath inmy life, and so I know that

(39:31):
that's because, due to mygrandparents so what can I do
with you know the gifts I'vebeen given to honor them.
So that is where this is born.
But my show in particular andI'm going to continue evolving
it and I will continue to makemore art around their stories
and my stories but this show isvery particularly around healing

(39:54):
intergenerational traumathrough telling my story of it
and how, you know, I don't Imean, I don't say it as directly
, but six million Jews didn'tdie for me to be a dancer and
this can sound crazy, but sixmillion Jews also died for me to
be a dance Like there's.
They didn't die for any, forany reason that has to do you

(40:15):
know?
but?
But my place in it all?
What can I do with my life,knowing my history, and how can
I honor all that?
They lost the best, and for me,that's living my truth and
letting myself be who I am,which they didn't get that
opportunity to do, so theyworked so hard to survive, to
then create a life.
And so what am I?

(40:35):
Am I going to choose somethingand be miserable every moment
I'm alive to breathe?
Like that's my personal journeyand my personal outlook?
Um, so my show revolves aroundthat discussion, and why I am so
passionate about it is becauseI think, like Shani is saying,
learning from the past, what arewe learning?
What are we learning from it?

(40:57):
We can tell the stories andthen I'm always like and and
like we're saying it wasn'ttalked about in the house, how
did it make you feel?
Or?
So now, what are you afraid of?
Are those rational fears or arethose fears from the past?
How do we keep pushing theneedle forward to further our
people, to further ourgrandparents' legacy?
Because, yes, they weresurvivors and like.

(41:20):
There's just so much more, and Ithink that every generation has
their place in history and theywent through the horrors our
parents blessed them were thechildren of them, who found the
bridge to live a better life andget the educations.
Then they had their childrenand they gave us so many more
opportunities.
So now, what are we going to dowith that?

(41:41):
I think let's do our damnedestto live free and and fulfill our
passions and purposes.
You know so, and I think thatthat goes across cultures.
I think that discussion, yeah,and then I think that leads to
better treatment of humanity andeach other, because you
understand yourself and you'reliving, you know, authentically

(42:02):
in your life.
So that's where my show livesand then that's how we all kind
of that's where that oversection of creating this
together lies john any thoughtson why 3g stories are so
important?

John Reed (42:19):
uh well, I, I actually just for me it's almost
kind of a very much like, youknow, create what, what isn't
there?
I actually just don't haven'tseen any, really, yeah, stories,
um, about third generations,which is why, in a way, the
movie A Real Pain was actuallysuch a revelation, because I was

(42:40):
like, oh, this is a story Ihaven't heard before.
I mean, obviously, we know thatthe stories of survivors and
our grandparents need to be toldas well, but I think what it
also shows is that this was notan event, this was not an
isolated event in the sense ofit only happened in the thirties
and forties and, you know it,it has rippled and changed the

(43:04):
face of everything we know to betrue today.
And I think there is somethingreally to be said about, about
also trying to, as a way, tryingto figure out who we are and
what we are from that.
And you know what do we do withit.

(43:26):
I always say, I say and I sayon these tours I was like it's
not enough to just know thishappened.
Yeah, like you can have all theknowledge in the world, but it's
useless if it's not active orif it's not put towards
something, and I think, for meat least, why I'm trying to

(43:48):
figure this out is that I I meanat least in terms of what my
show is about, and I know we'llget to that in a sec but it's
really just about.
I just want to feel less aloneand I want people to feel less
alone and I think so much of thetimes, especially 3Gs survivors
and Jewish people in generalhave felt we can be very lonely,

(44:12):
it's a lonely people and we canfeel so alone from everyone
else.
And I think there's also a wayto tell third generation stories
, because it shows like, look,they didn't win, they didn't win
.
We're here and to say, yeah,that this is also not only an

(44:35):
exploration of the stuff that wecarry, but again, look at the
victories we've been able toachieve on behalf of our
grandparents.
I mean just the fact that mygrandfather was able to die with
having sevengreat-grandchildren.
I mean that's everything to meand was everything to him, and

(44:55):
it's everything to our family.
So I think the voices need tobe heard because it shows like,
look, we're not gone and we'llnever be gone.

Yeah, and I dove into my show.
So we don't ever, we don't haveto go back to visit that.
But I, to add, jump onto why?
Third, what?
What is the third generationperspective?
I think that the furtherdistance the generations get
from it, different things can berevealed that were too fragile
and intense to get to, havingexperienced it or being the

(45:31):
direct children of it.
There are conversations I canhave that my mother just
physically cannot, and so it isour duty, and I have, you know,
there I've a sister and twocousins.
I don't know how passionate orobsessed they are with it they
don't have to be but it's likethere are a few who are sparked
by cousins.
I don't know how passionate orobsessed they are with it they
don't have to be but it's likethere are a few who are sparked
by weight.
I think we carry there's like athrough line in us to history

(45:53):
that's so invaluable, and if wecan speak about it and try to
push humanity towards healingand crossing the bridges which
is what our grandparents meantby never forget then what better
gifts that we can do for them.

Knowing now that that's what your grandmother
said to you and possibly beingsomething that might be
triggering, looking back on that, why did you decide to call
your show Six Million Didn'tDies for you dot dot dot?
Because I wrote that this was areally striking title before I
knew about what your grandmotherused to say.
Why did you decide that's whatyou want to call your show?

um, at the time I honestly think it was just the
most honest way.
It just it just the way thiswhole show came through me.
I just let it be itself and Ireally tried to not get in the
way.
So it just was the most honest,like it just was.
This is what it is and I knowit's striking, so that obviously

(46:57):
is like, but also to a fault,like I also I tried to put it up
somewhere and because of what'sgoing on with the times, they
were like, can you change thetitle?
And I was like let me sleep onit, and that's a whole other
discussion or episode.
And I came back and I said no,for now that is the truth of the
title and so I may.

(47:17):
I've danced with the idea ofchanging it because it is so
intense and like semi-aggressive, but part of me, but it's what
it is Holocaust story I don'tthink it's what it is, yeah.

I don't think you can dumb down something like
intergenerational trauma and theHolocaust to make people
comfortable.
People should be uncomfortable.
I think this is how I feelabout history in general is
history is not pretty, andhistory is messy and it's
confusing, and it makes peoplefeel things, and trying to take
that which people are right nowtrying to erase that does not do

(47:51):
anybody justice Because, asJohn was saying, we're not only
not going to learn from it, butit also creates this idealized
vision of what used to be.
When you whitewash something,it's like, well, it was great.
It's like like no, the 50s wasnot ideal.
Black people had no rights,jews didn't really have a lot of
rights.
Like not everybody had a whitepicket fence and, you know, 2.5

(48:12):
children and a dog.
So good for you for not givinginto that pressure.
Um, because, especially as anartist, I feel like we're people
pleasers.
Yeah, so we're like, yeah, yeah, yeah, we'll make, we'll make
it work.

You know we're like I'm only talking to the
person.
I was like oh yeah, uh-huh,uh-huh, yeah, but thank God I've
learned to be like let me sleepon it.

Which is another reason it's better to do things
when you're older, because whenyou're 22, you're like yeah yeah
, yeah, but you know, whenyou're getting your food, about
it.
Yeah, so it's spoken word andmovement one-woman show with
projections.

So, yes, there's movement pieces intertwined
throughout, but as of now it's a45-minute standalone piece,
with me speaking to the audienceand moving and using some
projections to show thenewspaper clippings and some
photos and things like that yeah.

It's great.
It's a great show.
Thank you, it's been producedalready.
Yes, you've done this.
Yes, that's what I thought.
And where did you, where didyou do this?

So I premiered it at LA, the Hollywood fringe
festival, and I think it was thesummer of 2023 okay um, and
then I did about I think I didabout four or five shows out
there and then I got invited tosubmit my show to the la women's

(49:40):
theater festival and so I did,and then they accepted me as one
of their finalists.
So I got to perform a 20 minuteexcerpt of that of my show
there in April 2024.
And then I put it up, I did a.
I did Macbeth at OregonShakespeare Festival and I just
put up a very private reading ofit to the, to company members

(50:02):
there.
And then I I produced one night, a one night show in New York
in December of 2023, I think,and that's when Shani came to
see it at Arts on Site um forsome community out there.
So, yeah, that the the lasttime I did it was in Oregon.
That's the last time I sharedit.

Wow, yeah, I love, I love.
I love people making art andself-producing and pushing stuff
.
It's a hustle man.
Not everybody you know itreally is.
We can't all be Lin-Manuel.

John Reed (50:32):
Miranda.

So, shawnee, they both have talked about your show
, which is Third Gen of SurvivorStory, and it premiered
off-Broadway last year.
I want to talk about this howit came about, what it's about
and how it ended up gettingproduced off Broadway.

Sure.
So, basically it's a dancememoir that is featuring my
grandparents' survival storiesand I'm taking both stories and
presenting them at the same timeon stage, but in different
areas of the stage.
So the stage is basicallysplitted by a table.

(51:16):
The table is turning intodifferent elements.
It's like the third person inthe room and it's turning into
different elements as they gothrough the story.
Luke Wygodny, who wrote themusic, actually wrote it
especially for the show and itwas very special because it's

(51:38):
the first time that we workedwith a composer in the room.
So the whole show was producedin the room all together dancers
and the composer.
And how it came about.
About five years ago I wantedto go.

(51:59):
I went through my grandparents'stories and kind of rewatched
it and I felt like I need to dosomething with it, but I didn't
know what.
And then, during COVID, I waslike I need to dig a little bit
deeper.
And what am I good at?
I'm good at dancing, I'm goodat moving.

(52:21):
Let's just, you know, takethose stories and think how, how
I can talk without talking, um?
And so I got in the room and Ijust started moving to their
voices, um, telling the storiesto Yad Vashem, and that's when

(52:42):
the idea came to me, but again,I didn't know exactly how I'm
going to do it.
And so when I came back to NewYork, I asked two of my friends
if they can come into the roomand we basically used their
testimonies as spoken words andwe laid on the ground and I put
the spoken words and I said justmove.

(53:03):
And that's how we started.
And then I brought Luke in andhe has this amazing song called
Sorrow, who kind of guidelinethe whole story.
We finished with the songSorrow and the dancers are
dancing that specific song.
This song is a song of hope,but it doesn't forget what we

(53:27):
went through.
So basically it talks about howwe're moving forward and how
we're looking forward to thefuture, but it says we're never
going to forget what happened.
There's always going to be sometype of journey that we went
through, and I felt like that isa very strong moment to finish

(53:51):
with, to remember that we areresilient and we are strong and
we are always surviving, always.
So I think that that was themost important thing to me to
finish with that and notnecessarily with the horrific
journey that we went through.

And so that's and Luke is also a third gen.

Luke is also a third generation and everyone in
the show is Jewish Only ourassociate actually, charlaine,
who's not Jewish at all, and Iwanted a different eye actually,
so that's why I brought her andshe was completely in with me
and that was an amazingperspective to have someone who

(54:37):
is not from our culture, who isnot from our history, taking
another look and giving heropinion and that was amazing.
And about your question how itwas produced, it is all
self-made.
My husband is a huge part of it.
He helped me building thestoryline from.

(55:01):
We have three hours of each ofthem speaking, so we needed to
cut a little bit and do a wholefrom a torgy um portion.
So he really helped in that inthat world, and he built up the
video as well um, because we'realso using the video and their
testimonies in the backgroundwhile performing um.

(55:23):
So he helped with this andbuilding the whole business plan
for it.
And I started at the SparkFestival, which accepted us, and
we started with a 20 minutesproduction.
That's when I met Jenna andwe've decided it was good enough

(55:43):
after that to continue the workand we got a lot of really
great responses.
People said we want to see more, although the testimonies are
in Hebrew, so I wasn't sure howpeople are going to accept that,
but we did put Englishunderneath English underneath.

(56:12):
So after that we did afundraiser and we decided just a
general fundraiser, and we'vedecided we're going to try and
find another space.
And Peridans offered theirspace for it and we said you
know what, let's just go for it.
And we put a lot of our ownmoney into it and we, we put two
nights last November, november2024, and happily yeah, that's

(56:34):
when we met John as well andstarted this collective.
And now we are looking forwardfor a few more things that are
starting to to work.
We hope to have it a few moretimes this year and, and
hopefully in the next few years,I really want to make it a

(56:55):
whole festival of of stories.
That's, that's my hope for it,but you know, big dreams.

You got to dream big man.
You got to dream big man, yougotta dream big.
Yeah, john.
So your show is currently indevelopment.
Correct, correct, and it iscalled the only ones.
So is this a dance show?
Is it spoken word?
What?

John Reed (57:18):
yeah, give me, give me the deets I in a way feel
like I have stolen from jannaand shani and just combined them
into this show.
So I have essentially tried tomake it essentially, yeah, like
a one-man monologue, but withdance in it.
Okay, in conjunction with mygrandparents, and I would have

(57:43):
two dancers play my grandparents.
Okay, essentially having theidea that because they are no
longer alive, they dance, theydon't speak.

Wow, that's really powerful.

John Reed (57:55):
Yeah, and I sort of am trying to sort of I'm trying
to work out the structure.
I had one read through actuallywith Jana, and Shani was unable
to be there then but alsoprovided incredible feedback of
just essentially just the wordvomit, first draft of just
everything that I had so far.
Um, and there are some, youknow it's still very much you

(58:18):
know in early stages butessentially why I called it, the
only ones was and this is alsoin the parallels I think that I
have experienced mostly in mylife growing up is that sort of
I always felt like I was theonly one who dot, dot dot.
I felt very alone and singularin most of my lived experiences.

(58:40):
I found it very hard to connectwith other people who were
going through or felt the sameway that I did, and I think
that's also very true of Jewishpeople in general.
I think we, like I said, Ithink we are a very isolated
group of people and people thatfeel like why does this only
happen to us?

We are the chosen people.
We are chosen to suffer.

John Reed (59:01):
We're chosen to suffer.
Yeah, exactly, and I think thereis something that I was trying
to find, which is thatessentially, what happens is
that we are actually all alonein our experiences because no
one has our experiences, but inthat aloneness do we actually

(59:22):
find community and we actuallyget connected to each other
because of it.
And so that's what I'm tryingto explore in my piece, while
trying to sort of tell myexperience growing up with that
feeling, as well as also tryingto figure out how that can sort
of relate to the history of mygrandparents as well as their

(59:45):
also um lives post-war as well.

So that's the idea all right, so this last portion
is my actor studio ripoff.
Um, I ask all my guests thesesame questions and they don't
need to be, they should not belong answers, they're just
supposed to be like quick littlethings and and I'll ask each of
you can answer.
So what is your favoriteYiddish word?

Jana Krumholtz (01:00:09):
Drek, drek.

Nicole Kelly (01:00:11):
Okay, john Shlep.
How about you, shani oh?

Shany Dagan (01:00:17):
that's a long one.
It's a, it means a big what.

That's a long one.

John Reed (01:00:21):
It's a, it means a big what.

A glory Like it's not that it is, for example, on
a man he's not that great.

He's not that he's okay.
Well, I, I like that one.
I didn't mean to be a newfavorite.
Oh, that's fine.

John Reed (01:00:40):
So we'll just go see the order.

Uh, what is your favorite Jewish holiday?

I think Passover .

Okay, john.

John Reed (01:00:48):
I'm going to say Passover too.

All right, are we going three for three?
What's your favorite Jewishholiday?

Shavuot, oh Shavuot .

She just she likes dairy.
Yes, I do.
Really big on the ice cream.
Um, really big on the ice cream.
Um, if, if you were to have abar or bat mitzvah today, what
would the theme of your party be?
And for those of you that didnot have your bar and bat
mitzvahs in America, I'm talkingabout like the big theme party.

(01:01:17):
If you were to have a b'naimitzvah today, what would the
theme of your party be?
Jana?

I mean honestly as much as like dance wasn't
allowed.
This is what's so funny.
Sometimes my theme was Janatakes center stage, which was my
favorite film at the time andeach table was a film.
So every table was like one wasWest Side Story, one was Porus.
So I would do the same.

Okay, John, what about you?

John Reed (01:01:38):
Yeah, I didn't have the sort of American bar mitzvah
sort of experience, but what Iloved was that the venue that it
was in was on.
It looked like a big Hollywoodbacklot.
So in a way I sort of feel likeI would make it more about like
movies, like Hollywood moviemaking.
Go more into that.

Shani, how about you If you were to have a big
party?

Dogs and chocolate.

Dogs which do not mix.
But I love that, I love.

John Reed (01:02:09):
I'm a crazy dog person, all right.

What profession other than your own would you
want to attempt?

Someone else go.

John Reed (01:02:18):
Okay, okay, you know, I don't know why, but I've
always been like I would love toknow how to fly a plane.
I was just thinking that.
Like to be a pilot?
I do.
Oh well, then just say that no.

but I've always wanted, not as a career, that's
just something I want to knowhow to do, you know?

you can learn how to fly a plane.
I know.
I do know, which is why I'mstill like it is still a thing
you can do.

John Reed (01:02:43):
Yeah, I think being a pilot would be really cool.

Okay, Jana, if you don't want to be a pilot,
but you still want to fly aplane, no I think it's still in
the art, like a filmmaker, likea, you know, a full time, you
know I get to do all thesethings, but to really have the
profession of, yeah, like amovie producer, like running the
show and getting to say, likethis is going to be made and
this is how, and this is how Iwant it, and you know.

Yeah.

How about you?

I have so many, but I will pick two, because I
can't Astronaut.

Okay.

And interior designer.

Good one, it's like my dog in chocolate.
One of those seems moreachievable than the other.

Yes, Okay and last.
She might be going to space in10 years, who knows?

No comment on that you never know If heaven is
real and God is there to welcomeyou.
What would you like to hearthem say?

Grandma is waiting for you.
What did you say?
Shani Grandma is waiting foryou?
Oh, did you say Shani Grandmais waiting for you?
Oh yeah.

John Reed (01:03:49):
I was going to say your dad's over there.

Slash.

John Reed (01:03:55):
You're making me cry, I know I know, but slash the
fun version would be.
That looked like a lot of fun.

How about you?

Jada.

Here's coffee.

Here's coffee.

That's the fun part.
There's coffee.
Yeah, I think just like thankyou, you did it.

So is there anything else that we did not
talk about that you guys arelike I have to talk about this.

Well, we do have a show coming up at Arts On
Site.
We're doing a night.
Arts On Site is going toproduce a night of our work, so
we're going to do excerpts fromall three of our shows and that
will be our first sharing thirdgen collective work as a unit,
which is very exciting.
So the potential date is August7th.
We're about to lock it in butit might change.

(01:04:41):
But you know, if you, if peoplejust want to follow along, or
if we can share that with you ata later date, we're very
excited about that.

And how would they be able to follow along with
the collective to be able to gettickets to that?

Our Instagrams is the way Okay great.

John Reed (01:04:57):
I know that Jenny does have a third gen Instagram.

Yes, thirdgenproject, thirdgenproject
.

Great, amazing ThirdGenproject.
Thirdgenproject, great, amazingThirdGenproject.

Well, assuming that I'm still alive and well, I
will absolutely be there withbells on and probably drag my
husband, because I drag him toeverything Holocaust related.
It's just how it works in myhouse.
How fun, all right.
Well, thank you all so much fortaking the time to sit down and
speak with me.
This has been great.
I am Nicole Kelly and this hasbeen Shebrew in the City.
©.
Transcript Emily Beynon.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}"Three's Company" - An Interview with the 3G Collective (Part 2)