May 3, 2023 • 17 mins
Michael Riedel and Christine Nagy chat with Broadway legend and Tony award winner Chita Rivera. She talks about her remarkable career and how she went from tomboy to ballerina and then onto Broadway.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:02):
iHeartRadio Broadway Pretty Sense Inside Broadway,the podcast about everything theater. It's where
you hear what happens from the ticketwindow to the stage door, with the
stars and creative forces that make itall come alive. Here are your hosts,
w Rs. Michael Reidal and LightFM's Christie Nage. Well, Michael,
(00:24):
this is truly an honor because weare speaking to a Broadway legend today.
She's won multiple Tony's Kennedy Center Honoree, recipient of the Presidential Medal of
Freedom, Star of West Side,story by by Bertie Chicago, Kiss of
the Spider Woman week Ago, onand on and on. But I think
it's time to talk to Cheetah Rivera. Hello, Cheetah, welcome. Well,
(00:49):
I'm exhausted your name and all thoseshows, you know, that's tip
of the iceberg. It's all inyour in your beautiful memoir, Cheetah,
which is which is absolutely fantastic.And congratulations on the book. It's such
a great read. Why am Ihope you like it? Yeah, Cheetah,
(01:11):
I was gonna I was gonna say, Cheetah doing eight performances a week
is nothing compared to having doing abook to wear in all these interviews.
Right, Oh my gosh, Ohmy gosh, there is nothing like it.
Doing eight shows a week is notthere's no comparison. And Cheetah,
you're going out and doing book signingslike meeting your fans. How has that
(01:34):
experience been? Well, um Iunfortunately, I've been doing a lot of
podcasts or audio recordings and um Idid a thing with Nathan Lane the other
day and with Harvey Firestein. Idid one yesterday and they're fun, their
(02:00):
questions and answers, and you're justhaving a conversation in front of all the
people that bought the books. Youknow, right, that's the key,
sell the book. That's the bigthing. Sheet up, that's the big
key. So take us back.You were born Washington, DC, and
(02:20):
what was that first moment in yourlife where you saw something on the stage
or you were on the stage,or you thought this is where I have
to spend the rest of my life. Well, the first time that happened,
well, the first time that Thereason why I was put in ballet
school was because I was such atomboy and I rode by bicycles and wrote
(02:45):
a skates and walked to climbed thepear tree, and I jumped from sofa
to sofa and across the coffee table, and one time I didn't make it
and I went through the golfie chapel. And that was when my mother decided,
that's it. I'm getting her outof here. I'm putting her in
(03:07):
a ballet school and we're going tochallenge this energy that she's got. And
then when I went to New Yorkand I want a scholarship to New York
City Ballet, the first show Isaw was Carol Channing in Gentlemen Prefer Blondes,
(03:28):
I believe, And and it wasthen that I said, I really
don't want this ballet thing. Iwant Broadway. And because she was so
exciting and strong and glamorous and funny, and she was everything I wanted to
(03:50):
be. So it was Carol Channingthat did it. And she I love
how you really share your story ofa West Side story, how that not
only changed real life, but Broadwayin particular and Broadway musicals, and you
really felt the power of that asyou were coming into the show. Correct
we did at the beginning, itwas just a job. As we rehearsed
(04:15):
and rehearsed with Jerome Robbins and LennonBernstein and Stephen Sondheim and Apa Lawrence.
The more we rehearsed, the morewe realized that there was something more in
this and it was an important piece. And came our first audience, which
(04:38):
was a gypsy run through. Wereally realized, darnet, we got something
here, you know, it wasit was really an exciting thing to be
involved with. I'm kind of curious, Cheet. What was you had the
biggest heavy hitters on the planet then, Leonard Bernstein, Jerome Robot We weren't
(05:01):
at the time. We were allyoung kids, you know. Yeah,
Lenny was, Lenny was established thoughto some extent, but what was what?
And you know, the the youngone of them all was Steve Sondheim.
What was a kid Steve Sondheim like? He became a legend, of
course, but what was he likejust to deal with back in those days
before? He was accurate, buthe was quiet. He wasn't Steven Sanheim
(05:28):
at the time. You know.It was just a piano player that played
the piano beautifully. But we wereall learning. We were all learning at
the time. I think now thatwe see, you know, what legends
these people are I kind of lookat this and I think if you were
(05:49):
newer to this, wouldn't it beintimidating. But as you said, at
the time, they were your peers. Um, what about when you were
working on Chicago and Bob Fosse andhow was that experience? Well, that
that was extraordinary also because it wasa new style and it was something brand
(06:10):
knew that we were learning to standnext to Gwen Verdon, who was my
idol and I had been watching heron television when I was a kid,
and she was doing these movies andI had no idea that I would be
standing next to her behind this drumand doing two dancing as one right beside
(06:39):
her. I mean, it wasan extraordinary feeling. Now you came from,
of course, the ballet world,and then you were doing I have
to say, you know West SideStory balletic choreography, because Jerome Robbins was
a great ballet choreographer as well.That's right. What was it like to
put your body though through the Fosseystyle, because I know Fossey dancers said
(07:00):
that that is incredibly demand. Itlooked simple, the shoulder rolls, the
snap, but it's incredibly tense anddifficult. Absolutely, it was the strangest
thing I have ever I wanted tobreak loose and death dance because I had
seen him on television in films also, and he had a very broad sense
(07:29):
of dance. But when he decidedto do Chicago, it was a very
disciplined kind of movement and it wasI mean. I asked one of the
boys, Tony Stevens, who wasone of his assistants, I asked if
there was a chair number? AndI could not get off that chair,
(07:54):
and I begged Tony Stevens to begBob Fosse to get me off that chair
at some time. Well, youhave to be careful what you wish for,
because he not only had me onthe chair, but he had me
all around the entire stage. Butit was a wonderful number. It was
(08:16):
a wonderful number. Your discipline asa as a dancer. I see that
you're credited with getting you through somany experiences in life. And is that
how you identify most at heart?Are you a dancer first? And you'll
always come back to theater? Ihave always said, should I come back
(08:39):
in another another lifetime? I wantto come back a dancer. It really
made my entire life disciplined. Itaffected my entire life. I respected,
and I love I love it,and so um, I'm but enough to
(09:01):
say I want to come back ad answer. What are the great moments
in the book is when you weresix months pregnant and you were still dancing
in the show. And I justam curious. What do you make of
today's world on Broadway? People callin sick, they miss performances, even
stars miss performances. A lot ofthe chorus kids, I know, if
(09:24):
they have a two thick, theydon't show up. I mean that was
unthinkable for your generation, right,you never miss unthinkable, unthinkable. And
I really don't have very much tosay about it now, which means I
have a lot to say about ithere. You Yeah, I don't understand.
(09:48):
You're taking a job and you're enjoyingwhat you're doing, and you're not
doing it. You're not doing theeight shows a week. Um, what's
wrong to you? Yeah? Youknow one of your one of your colleagues
in the Originals West Side Story,my old buddy Ronnie Lee. I remember,
(10:11):
Yeah, he told he said,if you got run over by a
bus and your legs were broken,You got to the stage door and you
did the show. Because if JeromeRobbins heard you missed, you were finished.
Ronnie is so funny. Yes,that's exactly That's exactly the way it
(10:31):
was. I mean, Jerry wouldyou wouldn't want Jerry to year did you
miss the show? You get itregardless. So, Cheetah, what do
you think is the biggest takeaway?You're sharing so much with us and we
appreciate it so much because your lifeis incredible. Your life experience is fabulous.
(10:52):
And if if somebody aspires to beCheetah Rivera, what would you advise
them to do? If they wantto follow in your footsteps? You know
that That's exactly the reason why Iwrote the book. I wrote the book
for young dancers that want to beat the top of their game. They
(11:18):
want to explore who they are,and they can't do it without hard work,
the passion for the for the dance, and just enjoying it and sharing
it with an audience. UM.I could have named the book if I
(11:41):
can do it, you can,but that's too long. Jeta is a
better title. I'm glad I PatrickPacheco and I came down to that title.
But if they had about a thumbnailof the talented Cheetah Rivera, they're
on their way in the business.Oh well, thank you very very much.
(12:05):
I when I read this book,I become reminded of what a good
life I've had. And I've alwaysknown it, but I was busy having
it. And I came along duringa time of the Golden Age, and
(12:26):
that was when there were so manytalented, talented people, and there I
can honestly say they're my friends now. I mean, when I think about
it, I'm moved absolutely all right. Right, well, you know what
we were talking about, the GoldenAge, and you knew them all,
and uh well, you and afew others are still still with us here.
(12:52):
You guys are representation that I don'tthat will never see again on Broadway.
You and John Candor and Charlie Strauss, Dick Van Dyke, all those
friends. Oh my god, allright, and they're they're my friends.
They're my absolutely friends. I've learnedto love them as human beings, not
just as artists, but as humanbeings. What a good life we've had,
(13:16):
What a good luck and we're havingabsolutely no question? All right,
the Great Cheetah Rivera. Check outher memoir Cheetah, written with Cheetah's friend
and my friend Patrick Peco. So, hey, she has great talking to
you and can't wait to see Ihope you've got another nightclub back in your
future because I loved, I loveseeing you at fifty four below. You
can the legs still, the legsstill go. Well, thank you and
(13:41):
thank you for caring and calling today. Michael, have you ever met Cheeta
Rivera in person? I know you'vemet a lot of people. Oh yeah,
many times. Oh we had alittle um we did have a little
disruption in our relationship at one point. Probably shouldn't tell you this, but
I'm going of course, I've wentto your appetite for it. Yeah.
(14:05):
So, and it also involves myfriend Patrick Pacheco, who co wrote the
book with Cheetah. Patrick's a goodtheater journalist. So Cheetah had a one
person show on Broadway called Cheeta Rivera, A Dancer's Life, and Patrick was
involved in it. He helped kindof shape the script and did a lot
of interviews with Cheetah. I thinkit was Terrence McNally actually wrote the script,
but Patrick was involved in it andit was a big deal. Lane
(14:26):
Stritch had had her one woman showthat was a big hit, and everyone
thought, well, who else isout there like Elaine Stritch And the obvious
choice is Cheeta Rivera. So Cheetahdid the show and it was a good
show. It was a good show, but it just didn't quite catch on
or work. And you know,one of those days where I don't know,
I had space to fill in thecolumn. So I was like,
(14:48):
you know, I got to comeup with something here, and I said,
ah, Cheeter rivera show. Youknow, I enjoyed it, but
it's not working at the box office. And the writings on the wall and
it says close the show. Shecame into the theater screaming at Patrick and
she said, I thought he wasa friend of yours. I thought he
was a friend of yours. Thisis what a friend does. She did
(15:11):
not talk to me for a longtime, and neither did my best friend
Patrick Pacheco. Neither one of themwould speak to me for over a year.
I was at They totally froze meout. That that was Ouchy the
other the other great Cheetah story.In her book, she talks about Kiss
of the Spider Wooden, which wasproduced by this guy named Garth Trabinsky.
(15:33):
He was a Canadian producer, big, high flying career on broad him in
the nineties, but he turned outto be a fraud. His entire company
was a fraud and it went bankruptand he went to jail for fraud and
forgery. So this guy made amovie about Garth's life, and he premiered
it in New York and I wentto the movie because I was in the
movie talking about Garth and his shenanigans. And at the very end of the
(15:56):
movie, I made some crack like, well, I'm he's in prison now,
and I'm sure he's trying to stealthe silverware, And all of a
sudden, boom, somebody hit theback of my head and I turned around
and it was Cheetah, because Garthhad given Cheetah kiss to the Spider Woman,
which one her a Tony Ward.She loved Garth. She's gonna catch
you every time. You gotta becaress. I gotta be careful around.
(16:18):
She pretends to like me, butboy, if if I meet her in
a dark alley, I'm gonna mindthat. Like one of those jets.
Are those sharks at West Side startright exactly. But now she is terrific
and really, I mean you thinkabout that career, It's like I don't
see anyone on Broadway who can havea career like that. I mean,
dancing and singing, acting, thegreat nightclub performances, all the great.
(16:41):
She really is the world that's gone. And the book is so so well
written. Oh it's fun, yeah, great fun, yeah, great fun.
So so thank you. All right, that's it for us. We'll
talk to you next time on InsideBroadway. Christine, I'm Michael. Do
you like it here in America?I do
iHeartRadio Broadway Pretty Sense Inside Broadway,the podcast about everything theater. It's where
you hear what happens from the ticketwindow to the stage door, with the
stars and creative forces that make itall come alive. Here are your hosts,
w Rs. Michael Reidal and LightFM's Christie Nage. Well, Michael,
(00:24):
this is truly an honor because weare speaking to a Broadway legend today.
She's won multiple Tony's Kennedy Center Honoree, recipient of the Presidential Medal of
Freedom, Star of West Side,story by by Bertie Chicago, Kiss of
the Spider Woman week Ago, onand on and on. But I think
it's time to talk to Cheetah Rivera. Hello, Cheetah, welcome. Well,
(00:49):
I'm exhausted your name and all thoseshows, you know, that's tip
of the iceberg. It's all inyour in your beautiful memoir, Cheetah,
which is which is absolutely fantastic.And congratulations on the book. It's such
a great read. Why am Ihope you like it? Yeah, Cheetah,
(01:11):
I was gonna I was gonna say, Cheetah doing eight performances a week
is nothing compared to having doing abook to wear in all these interviews.
Right, Oh my gosh, Ohmy gosh, there is nothing like it.
Doing eight shows a week is notthere's no comparison. And Cheetah,
you're going out and doing book signingslike meeting your fans. How has that
(01:34):
experience been? Well, um Iunfortunately, I've been doing a lot of
podcasts or audio recordings and um Idid a thing with Nathan Lane the other
day and with Harvey Firestein. Idid one yesterday and they're fun, their
(02:00):
questions and answers, and you're justhaving a conversation in front of all the
people that bought the books. Youknow, right, that's the key,
sell the book. That's the bigthing. Sheet up, that's the big
key. So take us back.You were born Washington, DC, and
(02:20):
what was that first moment in yourlife where you saw something on the stage
or you were on the stage,or you thought this is where I have
to spend the rest of my life. Well, the first time that happened,
well, the first time that Thereason why I was put in ballet
school was because I was such atomboy and I rode by bicycles and wrote
(02:45):
a skates and walked to climbed thepear tree, and I jumped from sofa
to sofa and across the coffee table, and one time I didn't make it
and I went through the golfie chapel. And that was when my mother decided,
that's it. I'm getting her outof here. I'm putting her in
(03:07):
a ballet school and we're going tochallenge this energy that she's got. And
then when I went to New Yorkand I want a scholarship to New York
City Ballet, the first show Isaw was Carol Channing in Gentlemen Prefer Blondes,
(03:28):
I believe, And and it wasthen that I said, I really
don't want this ballet thing. Iwant Broadway. And because she was so
exciting and strong and glamorous and funny, and she was everything I wanted to
(03:50):
be. So it was Carol Channingthat did it. And she I love
how you really share your story ofa West Side story, how that not
only changed real life, but Broadwayin particular and Broadway musicals, and you
really felt the power of that asyou were coming into the show. Correct
we did at the beginning, itwas just a job. As we rehearsed
(04:15):
and rehearsed with Jerome Robbins and LennonBernstein and Stephen Sondheim and Apa Lawrence.
The more we rehearsed, the morewe realized that there was something more in
this and it was an important piece. And came our first audience, which
(04:38):
was a gypsy run through. Wereally realized, darnet, we got something
here, you know, it wasit was really an exciting thing to be
involved with. I'm kind of curious, Cheet. What was you had the
biggest heavy hitters on the planet then, Leonard Bernstein, Jerome Robot We weren't
(05:01):
at the time. We were allyoung kids, you know. Yeah,
Lenny was, Lenny was established thoughto some extent, but what was what?
And you know, the the youngone of them all was Steve Sondheim.
What was a kid Steve Sondheim like? He became a legend, of
course, but what was he likejust to deal with back in those days
before? He was accurate, buthe was quiet. He wasn't Steven Sanheim
(05:28):
at the time. You know.It was just a piano player that played
the piano beautifully. But we wereall learning. We were all learning at
the time. I think now thatwe see, you know, what legends
these people are I kind of lookat this and I think if you were
(05:49):
newer to this, wouldn't it beintimidating. But as you said, at
the time, they were your peers. Um, what about when you were
working on Chicago and Bob Fosse andhow was that experience? Well, that
that was extraordinary also because it wasa new style and it was something brand
(06:10):
knew that we were learning to standnext to Gwen Verdon, who was my
idol and I had been watching heron television when I was a kid,
and she was doing these movies andI had no idea that I would be
standing next to her behind this drumand doing two dancing as one right beside
(06:39):
her. I mean, it wasan extraordinary feeling. Now you came from,
of course, the ballet world,and then you were doing I have
to say, you know West SideStory balletic choreography, because Jerome Robbins was
a great ballet choreographer as well.That's right. What was it like to
put your body though through the Fosseystyle, because I know Fossey dancers said
(07:00):
that that is incredibly demand. Itlooked simple, the shoulder rolls, the
snap, but it's incredibly tense anddifficult. Absolutely, it was the strangest
thing I have ever I wanted tobreak loose and death dance because I had
seen him on television in films also, and he had a very broad sense
(07:29):
of dance. But when he decidedto do Chicago, it was a very
disciplined kind of movement and it wasI mean. I asked one of the
boys, Tony Stevens, who wasone of his assistants, I asked if
there was a chair number? AndI could not get off that chair,
(07:54):
and I begged Tony Stevens to begBob Fosse to get me off that chair
at some time. Well, youhave to be careful what you wish for,
because he not only had me onthe chair, but he had me
all around the entire stage. Butit was a wonderful number. It was
(08:16):
a wonderful number. Your discipline asa as a dancer. I see that
you're credited with getting you through somany experiences in life. And is that
how you identify most at heart?Are you a dancer first? And you'll
always come back to theater? Ihave always said, should I come back
(08:39):
in another another lifetime? I wantto come back a dancer. It really
made my entire life disciplined. Itaffected my entire life. I respected,
and I love I love it,and so um, I'm but enough to
(09:01):
say I want to come back ad answer. What are the great moments
in the book is when you weresix months pregnant and you were still dancing
in the show. And I justam curious. What do you make of
today's world on Broadway? People callin sick, they miss performances, even
stars miss performances. A lot ofthe chorus kids, I know, if
(09:24):
they have a two thick, theydon't show up. I mean that was
unthinkable for your generation, right,you never miss unthinkable, unthinkable. And
I really don't have very much tosay about it now, which means I
have a lot to say about ithere. You Yeah, I don't understand.
(09:48):
You're taking a job and you're enjoyingwhat you're doing, and you're not
doing it. You're not doing theeight shows a week. Um, what's
wrong to you? Yeah? Youknow one of your one of your colleagues
in the Originals West Side Story,my old buddy Ronnie Lee. I remember,
(10:11):
Yeah, he told he said,if you got run over by a
bus and your legs were broken,You got to the stage door and you
did the show. Because if JeromeRobbins heard you missed, you were finished.
Ronnie is so funny. Yes,that's exactly That's exactly the way it
(10:31):
was. I mean, Jerry wouldyou wouldn't want Jerry to year did you
miss the show? You get itregardless. So, Cheetah, what do
you think is the biggest takeaway?You're sharing so much with us and we
appreciate it so much because your lifeis incredible. Your life experience is fabulous.
(10:52):
And if if somebody aspires to beCheetah Rivera, what would you advise
them to do? If they wantto follow in your footsteps? You know
that That's exactly the reason why Iwrote the book. I wrote the book
for young dancers that want to beat the top of their game. They
(11:18):
want to explore who they are,and they can't do it without hard work,
the passion for the for the dance, and just enjoying it and sharing
it with an audience. UM.I could have named the book if I
(11:41):
can do it, you can,but that's too long. Jeta is a
better title. I'm glad I PatrickPacheco and I came down to that title.
But if they had about a thumbnailof the talented Cheetah Rivera, they're
on their way in the business.Oh well, thank you very very much.
(12:05):
I when I read this book,I become reminded of what a good
life I've had. And I've alwaysknown it, but I was busy having
it. And I came along duringa time of the Golden Age, and
(12:26):
that was when there were so manytalented, talented people, and there I
can honestly say they're my friends now. I mean, when I think about
it, I'm moved absolutely all right. Right, well, you know what
we were talking about, the GoldenAge, and you knew them all,
and uh well, you and afew others are still still with us here.
(12:52):
You guys are representation that I don'tthat will never see again on Broadway.
You and John Candor and Charlie Strauss, Dick Van Dyke, all those
friends. Oh my god, allright, and they're they're my friends.
They're my absolutely friends. I've learnedto love them as human beings, not
just as artists, but as humanbeings. What a good life we've had,
(13:16):
What a good luck and we're havingabsolutely no question? All right,
the Great Cheetah Rivera. Check outher memoir Cheetah, written with Cheetah's friend
and my friend Patrick Peco. So, hey, she has great talking to
you and can't wait to see Ihope you've got another nightclub back in your
future because I loved, I loveseeing you at fifty four below. You
can the legs still, the legsstill go. Well, thank you and
(13:41):
thank you for caring and calling today. Michael, have you ever met Cheeta
Rivera in person? I know you'vemet a lot of people. Oh yeah,
many times. Oh we had alittle um we did have a little
disruption in our relationship at one point. Probably shouldn't tell you this, but
I'm going of course, I've wentto your appetite for it. Yeah.
(14:05):
So, and it also involves myfriend Patrick Pacheco, who co wrote the
book with Cheetah. Patrick's a goodtheater journalist. So Cheetah had a one
person show on Broadway called Cheeta Rivera, A Dancer's Life, and Patrick was
involved in it. He helped kindof shape the script and did a lot
of interviews with Cheetah. I thinkit was Terrence McNally actually wrote the script,
but Patrick was involved in it andit was a big deal. Lane
(14:26):
Stritch had had her one woman showthat was a big hit, and everyone
thought, well, who else isout there like Elaine Stritch And the obvious
choice is Cheeta Rivera. So Cheetahdid the show and it was a good
show. It was a good show, but it just didn't quite catch on
or work. And you know,one of those days where I don't know,
I had space to fill in thecolumn. So I was like,
(14:48):
you know, I got to comeup with something here, and I said,
ah, Cheeter rivera show. Youknow, I enjoyed it, but
it's not working at the box office. And the writings on the wall and
it says close the show. Shecame into the theater screaming at Patrick and
she said, I thought he wasa friend of yours. I thought he
was a friend of yours. Thisis what a friend does. She did
(15:11):
not talk to me for a longtime, and neither did my best friend
Patrick Pacheco. Neither one of themwould speak to me for over a year.
I was at They totally froze meout. That that was Ouchy the
other the other great Cheetah story.In her book, she talks about Kiss
of the Spider Wooden, which wasproduced by this guy named Garth Trabinsky.
(15:33):
He was a Canadian producer, big, high flying career on broad him in
the nineties, but he turned outto be a fraud. His entire company
was a fraud and it went bankruptand he went to jail for fraud and
forgery. So this guy made amovie about Garth's life, and he premiered
it in New York and I wentto the movie because I was in the
movie talking about Garth and his shenanigans. And at the very end of the
(15:56):
movie, I made some crack like, well, I'm he's in prison now,
and I'm sure he's trying to stealthe silverware, And all of a
sudden, boom, somebody hit theback of my head and I turned around
and it was Cheetah, because Garthhad given Cheetah kiss to the Spider Woman,
which one her a Tony Ward.She loved Garth. She's gonna catch
you every time. You gotta becaress. I gotta be careful around.
(16:18):
She pretends to like me, butboy, if if I meet her in
a dark alley, I'm gonna mindthat. Like one of those jets.
Are those sharks at West Side startright exactly. But now she is terrific
and really, I mean you thinkabout that career, It's like I don't
see anyone on Broadway who can havea career like that. I mean,
dancing and singing, acting, thegreat nightclub performances, all the great.
(16:41):
She really is the world that's gone. And the book is so so well
written. Oh it's fun, yeah, great fun, yeah, great fun.
So so thank you. All right, that's it for us. We'll
talk to you next time on InsideBroadway. Christine, I'm Michael. Do
you like it here in America?I do
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Therapy Gecko
An unlicensed lizard psychologist travels the universe talking to strangers about absolutely nothing. TO CALL THE GECKO: follow me on https://www.twitch.tv/lyleforever to get a notification for when I am taking calls. I am usually live Mondays, Wednesdays, and Fridays but lately a lot of other times too. I am a gecko.