October 23, 2025 • 32 mins
Today on The Breakfast Club, Alex Joseph Grayson & Renni Magee Talk 'Outsiders,' Broadway, Vegas, ROC Nation. Listen For More!
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Speaker 1 (00:00):
Don't every day a way?
Speaker 2 (00:03):
Click yours up the Breakfast Club finish for y'all done, mister,
one of the most dangerous morning show to Breakfast Club,
Charlamagne to God, Jess Hilarious, DJ Nvy, Envy's not here
but lay and La Rosa is and we got some
special guests in the building.
Speaker 3 (00:16):
Man.
Speaker 2 (00:16):
I went to go see this play a couple of
weeks ago. The Outsider is how y'all brothers doing? Introduce yourselves?
Speaker 4 (00:23):
Man?
Speaker 3 (00:23):
I'm Alex Joseph Grayson. I played Dallas Winston and The
Outsiders on Broadway.
Speaker 2 (00:27):
Good Morning, Alex.
Speaker 5 (00:28):
I'm Rennie Anthony McGee. I play Steve and The Outsiders.
Speaker 2 (00:31):
Man, how did y'all end up in The Outsiders? The
Outside has been historically white for as long as I
can remember. It was how dy'all end up in the Blade?
Speaker 6 (00:43):
You developed this thing?
Speaker 5 (00:44):
Yeah?
Speaker 6 (00:45):
So yeah.
Speaker 1 (00:45):
So, you know, in the theater world, we do these
things called workshops before we try to get an out
of town tryout, which is just sometimes it's not even
out of town. It could be in New York, you know,
off Broadway. So I was doing MJ on Broadway. It
was my first Broadway show. I was a swing, which
means I learned multiple roles. I got this audition choreographers
I had worked with before. I was praying for it.
(01:08):
The choreographers I had worked with before. I was praying
for it. And when we did it, we were working
through and they were working with this idea of different races, right,
because you have the socials and the greasers, so socioeconomically,
you know, in the sixties, with the exception of a
small percentage black people didn't have much wealth because this
(01:29):
country did not allow us to have that. So we
were trying to show this story about those with who
are less fortunate going against those who have it all
but maybe are less fortunate in other ways because you know,
some of these we don't know what goes on behind
rich family's doors. We do not, no matter what the
race is. But that's kind of how we came in here,
you know. Alex kind of slid in later. Yeah, actually,
(01:53):
believe it or not.
Speaker 3 (01:54):
I auditioned for an early version of The Outsiders.
Speaker 6 (01:58):
Before the pandemic. I want to say it was like
twenty eighteen.
Speaker 3 (02:03):
They called me in and you know, I got an
email from my talent agent that it was for The Outsiders.
For Dally actually, and I was like, this.
Speaker 6 (02:14):
Is the mad Dylan in the movie. This is interesting
that they're calling me in for this.
Speaker 3 (02:20):
But it was at a period of time in which
I noticed I had been getting a lot of auditions
for characters and these are nonfiction.
Speaker 6 (02:30):
These are they're fictional stories.
Speaker 3 (02:31):
Sorry, So, but I did think there was a trend
where I was being called in to play these roles
that were traditionally not black men. And I don't know
if that was a reflection of something that was happening
on Broadway and in theater where there was a movement
to sort of change some of the faces that were
(02:51):
telling the story, especially in a post Hamilton world in
which we're giving these American stories to people that are
not necessarily being considered like American in appearance. So, you know,
I gave it a stab, but nothing really happened in
twenty eighteen with that show didn't move forward for me.
(03:13):
So I had actually stopped thinking about it for a
while until about seven months ago. Now it's been it's
been like six or seven months that I've been with
the show, and it came around again. I auditioned for
the show before it came to Broadway, but it didn't
work out and I let it go, and luckily it
came around for me and now I'm a part of
it and it's a really great group of people that
(03:35):
I work with. The show is very exciting, it's very
physically demanding. It's very dangerous, which I'm learning firsthand. So
I have to take really good care of my body
and my health and every day take a breath. And
everybody's got different practices. I know when I see you
praying off on the side a lot, it's like, oh,
(03:55):
we just have to really still ourselves and care for
our instruments every time we walk on that stage.
Speaker 7 (04:02):
Man, I was just about to go into that asking
all y'all rituals or y'all practices, because listen that Broadway
you need your voice and you need to be able
to project.
Speaker 4 (04:12):
What exercises do you guys have to do? What can't
you do? And what you have to do? No? Well,
you know.
Speaker 1 (04:25):
Go, you know I will say, I mean above all else.
As Alex mentioned, I'm.
Speaker 5 (04:30):
A huge prayer.
Speaker 1 (04:32):
I have noticed during the performances where I forgot to
pray before people have gotten heard. Now for me, that's
the connection already. You know, I pray for a speedy show.
I pray for an efficient show, an enlightened show, a
fulfilling show, because oftentimes we're coming to the theater with
all of the things that are happening in this world,
(04:54):
you know, and we have to get on that stage
and tell this story, which is a sad so now
we have to live in that.
Speaker 5 (05:02):
And you know, one of the things they always talk
about is when.
Speaker 1 (05:05):
You're acting, your body does not know the difference between
real and fake. So when you bring yourself to that point,
you're there. Yeah, even if you subconsciously know, like that
sixth sense, oh this is not really really happening. Your
body doesn't, you know. My mom read you know, I
love you, Pamela Mugie, you the bomb. My mom she
(05:27):
read there was a study that said people who go
on stage they have the same amount of adrenaline as
soldiers going into battle. Yes, yes, And then you know
it's it's not too hard to believe because you know,
a lot of people are more afraid of public speaking
than dying. So it makes sense.
Speaker 2 (05:46):
So are you retraumatizing yourself having to do that fight
scene every.
Speaker 1 (05:52):
In so many words? Yes, yes, yes, I mean that's
a very that's I think there's more nuanced in that.
Speaker 4 (05:59):
But yees, yeah, I.
Speaker 3 (06:01):
Would say, you know, being being an actor, like, people
get into it for all sorts of reasons. I know
for me personally, I feel like I'm I'm very much
in in my purpose. I'm I I am here to
be uh, to be a conduit for for storytelling. I'm
(06:22):
here to to to bring.
Speaker 6 (06:24):
Messages to people.
Speaker 3 (06:27):
And I have been completely ushered into this this place
that I am in my life. It's not something that
I that I sought out. I've had so many people,
uh that have been guiding me to the place that
I'm at today.
Speaker 6 (06:40):
It's not it's not a choice at by by any means.
Speaker 3 (06:44):
And it's my It's my fifth Broadway show, and it's like,
it's not something that I try to really make sense of.
Speaker 5 (06:52):
It's just it's just.
Speaker 3 (06:53):
Where I am and a lot of what we do
when it gets down to the sort of technical aspect,
just as an actor, there's a lot of psychological stuff
that we have to draw on a lot of past experiences, trauma,
being able to experience emotional hardships, highs and lows, and
(07:14):
then sort of like pull those things back up, and
it's not always a positive experience. So I think to
recover from that, we have to be really really invested
in and caring for ourselves like that. Like I spend
so much time recovering, like that's.
Speaker 6 (07:29):
That's that's my free time.
Speaker 3 (07:30):
My free time is about recovery, rest, just placing hands
on on my my.
Speaker 6 (07:39):
Body, just.
Speaker 3 (07:41):
Stretching every every moment is about making sure that my
body feels safe, reminding myself that I'm safe, asking myself
for permission to do all of this again. Just like
Rennie said, you know, we get out there and we fight,
and uh, you know, I I have to then go
(08:05):
Like I know in the show, I sort of pound
my chest every night. I bang on my chest twice
in this one specific number. And then I leave stage
and I I I put I place a hand right
on my heart and I I literally say, I'm I'm sorry,
I'm sorry that I did this, and that it's okay.
Speaker 6 (08:28):
That was That was just a story that we were.
Speaker 3 (08:30):
Telling, and we trade. We're trading our time because it's
a job. This is a job at the end of
the day, and it's it's a gift to people. It
brings people joy, but it's also it's also a job,
and we're we're showing up because we have to we
have to work.
Speaker 6 (08:44):
We don't have we don't.
Speaker 2 (08:45):
Have a choice because you're you're you're black.
Speaker 6 (08:48):
So yeah, the show.
Speaker 2 (08:49):
Outside is to me is it's largely about class.
Speaker 5 (08:53):
But you feel the.
Speaker 2 (08:54):
Same, you know, obstacles, hurdles, you know, prejudices black people
would experience. So you say you're safe when you exit
the roll, but then you go to real life, so
you go from class to raise, which.
Speaker 6 (09:07):
You know, yeah, so do you I truly feel safe?
Speaker 5 (09:10):
I don't.
Speaker 3 (09:11):
Oh you know, yeah, it's a yes. So like what
and then what is what is the definition of safe?
Speaker 5 (09:18):
Come on, now?
Speaker 6 (09:19):
What is safety? What is what is safety?
Speaker 5 (09:21):
You know?
Speaker 1 (09:22):
We talk about drawing on life experiences, you know, and
some actors they say they don't.
Speaker 5 (09:29):
I don't.
Speaker 1 (09:29):
I've never necessarily believed that. You know, yes, when you
get in that moment, it's you and your scene partners,
but you you are all that you've ever been.
Speaker 5 (09:38):
Yeah, that's never gonna not be there.
Speaker 1 (09:42):
And like for me, you know, we talk about this
this idea of de rolling. You get off the stage
and you get out of the role. Some people it's
much easier than others.
Speaker 2 (09:50):
Me.
Speaker 5 (09:50):
I go home, I'll put on a movie. I love movies.
Speaker 1 (09:53):
A movie makes me I'm thinking about this person's issues
now gone. And you know, we talk about the prep
that happens before a show, but so much of that
prep actually happens after the show, warming down, warming down
your voice, so then when you wake up you don't
feel this horse.
Speaker 5 (10:07):
You see what I'm saying.
Speaker 1 (10:08):
You can only do so much before a show, that
you can do so much after a show, you know,
And to answer your question, no, I you know, recently,
within these past few weeks, on a personal level, I
have not felt safe. You know, I do the show.
I bring myself to this place because I don't even
want to say tears, but oftentimes it's tears.
Speaker 5 (10:30):
You know.
Speaker 1 (10:31):
You know, I'm on stage and I'm seeing another black
brothern die in front of me, and then another one
and then I leave and I see that on TV
on social media, and you know, the one thing that
helps me is I am very much. I'm just gonna
I'm gonna go in prayer, I'm gonna journal, I'm gonna
watch some movies, I'm gonna play some video games, and
then I'm gonna do what I need to do because
(10:52):
at the end of the day, you know, when this
show is over, I got another job to do, whether
it's a TV show or a film, another Broadway show,
and then we have a whole other set of problems
that that piece of work is going to bring, but
also a whole other set of joyous moments that that's
going to bring.
Speaker 8 (11:09):
Are there resources that Broadway provides you then in those
circumstances like, are there like because I know y'all got
like coaches, right, and people that are helping you with
live performance and the effects and all that stuff. But
is there someone there that's like, let me check in
on y'all real quick.
Speaker 4 (11:22):
That girl is good? I like that.
Speaker 3 (11:26):
Yeah, I mean so, I will say this, and this
is just in case you have any young listeners that
are like, I want to do I want to do Broadway,
or anybody of any any age, because it's not it's
not just young people that work on Broadway. I will
say it is a It is a business first and foremost,
and I say this is this is the downside. And
I wish that Broadway would learn from professional sports leagues.
(11:51):
The investment Number one should be in the health and
safety of the people that are keeping the business this alive,
the performers, the athletes, And I think this unfortunate thing
about commercial theater is all the attention is how do
we get butts in seats? How do we how do
(12:12):
we sell these tickets, and not necessarily in keeping the
performers healthy, And that's why Broadway sort of has the
the issues that it has. I think the focus is
in the wrong place. So there there is an investment.
We have a PT person that's there. We have one
PT person on site. I don't think that's enough. Physic
(12:36):
physical therapist, physical therapist.
Speaker 6 (12:37):
I'm so sorry.
Speaker 3 (12:38):
Yeah, so we have one PT person. I think there
should probably be like three or four there. There should
be there should be a mental health professional like like
a like a sports psychologist person on site that I
think there should be an acting coach on site. But
that doesn't have to do with ticket sales. And I
(12:59):
think that's just a core misunderstanding because the people that
are making the decisions about this thing don't actually have
the ability or skill set to do the thing that
keeps the business running. They provide, they provide the real
estate and the venue. Uh that and that's pretty much it.
Speaker 2 (13:19):
Uh So, I just want the record to show too,
if Rock Nation would have got the casino on Times Square,
they wanted to do all of that for Broadway. Uh performance,
I just want to throw that out there.
Speaker 7 (13:26):
That's what I love about Window Peers because Wendell Peers
has a mentality. Doesn't he have an organization or foundation
that's trying to develop programs where you guys can have that,
where Broadway actors and extressists can actually have those resources,
even down to even down to some of the women.
Speaker 4 (13:47):
Because y'all work six days a week, sometimes y'all.
Speaker 2 (13:49):
Don't have a break so like, and that's why Wedell
was partnered with Rock Nation services that relief, the mental
health services.
Speaker 5 (13:59):
It's called No we didn't. We only heard about casino.
Speaker 8 (14:02):
Yeah, only, That's that's why they were out there. Like
that's what made me realize to suck it up culture
in Broadway when I started looking into the casino and
why y'all, Why not y'all specifically, but why people were
so upset? And I realized that you guys looked at
it like, Okay, now we're gonna have even more pressure
to work because we got to compete with this casino.
But they literally had a whole setup for wellness health. Yes,
(14:24):
they for money into your guys.
Speaker 2 (14:26):
They had a rock mission. I had a plan for Broadway.
They had Broadway tickets for underserved communities. It was like
a twenty million dollar proposal that they were going to
allocate the purchase tickets for in burrows like the Bronx,
Brooklyn and Queens.
Speaker 5 (14:36):
They had Broadway worker support, which.
Speaker 2 (14:39):
Was going to be in which is going to be
invested in the childcare services, debt relief, mental health services. Yes,
damn they never told yet.
Speaker 3 (14:48):
I mean we were not, uh Broadway actors were not
petitioning to stop the casino, but somebody definitely paid to
put a big no casino. So but you know, this
is this is about this is about territory. You know,
this is this is turf.
Speaker 5 (15:07):
You know that.
Speaker 3 (15:08):
So I want to ask about that.
Speaker 5 (15:09):
The record.
Speaker 2 (15:10):
I'm I love Broway, I've been going to I've be
living in New York and the Old six me and
my wife, I take my kids. I'll go to a
lot of Broadway plays. But I feel like the Broadway
audience isn't getting younger, Like I feel like it's still
a lot of older people that going and how many
times are you going to go see outside? And how
many times are you going to go see how many
times can you go see the Lion King?
Speaker 4 (15:29):
Like at some point, I.
Speaker 2 (15:31):
Just don't feel like the audience is growing. I could
be wrong, but.
Speaker 1 (15:34):
It's also I think that, you know, the element that
always affects everyone in this country and others money, money, money,
you know, you know.
Speaker 5 (15:43):
You have a you have a show.
Speaker 1 (15:45):
There was a show on Broadway this year that set
a record, and it is the highest grossing play on
Broadway ever. We won't go into the names, but I'm
sure we know which one that was. And you know,
it had too very famous film actors in it, you know,
a very famous director.
Speaker 6 (16:05):
And why.
Speaker 1 (16:08):
Okay, yeah it was, but you know, it set a record.
Speaker 5 (16:16):
It's what it is.
Speaker 1 (16:17):
I think the highest grossing play off Broadway ever. There
were no nominations for that show as far as I remember,
you know. And I think it's the element of who
has the money to pay to go? Like you said,
you are taking who your wife and your kids. Your
kids aren't taking you. They don't have the money you do, right,
So I would naturally think that as we continue to
(16:40):
move in this into the future. You know, It's true.
The people who have the money are the people who
have more experience, you know, the people who are older.
You know, so I and again, the whole game is
it's a business. You know, we we are like again,
why you know I'm sitting here, like, why didn't we
know that? All I knew about was the casino? That
(17:03):
was probably not on purpose, like you said.
Speaker 4 (17:05):
No nomination.
Speaker 3 (17:08):
I think Broadway is ripe for expansion, especially like with
you know, all the AI stuff. Just what's happening with
on screen work right now. I think, you know, studios
want to save money on movie production, TV show production.
I think this is a really really great time for
(17:30):
live theater to really have a renaissance, But it requires expansion.
And then you know, it's like what is Broadway?
Speaker 6 (17:38):
People love Broadway? What is what is Broadway? Is it?
Speaker 3 (17:44):
Is it a known brand that is only is it?
Is it only these theaters? Or can can Broadway be
more than just these few theaters in the Times Square area?
Speaker 6 (17:59):
Can't can it be more venues? Like like people do.
Speaker 3 (18:03):
Theater all over the place, and why does it have
to take place in these few buildings here? And I
think that there's a there's a branding problem, and there's
an accessibility issue that's been going on for years and
it's not really it's not really that hard, but there
(18:25):
are a few people that have ownership of what that is.
And I think that's what needs to expand because once
that that ownership is sort of spread out a little bit,
I think we can start to think a little bit
more freely about how we get people into these spaces.
Speaker 2 (18:46):
I agree with you because my biggest my biggest fear
is that you know, in the next three to five years,
there's not gonna be any real investments in that Times
Square area. And if you see what Time Square is
going now, like Tome Square, aint a place that you
really want to be, like you know, I mean there's nothing,
don't feel the safest, it's nothing new and sexy drawing
you there, like you're going for a specific reason. But
the most people they are taurus for in the next
(19:08):
three to five years, if there's no new investments in
the Times Square, what draw is there other than Broadway?
But how is that going to also impact Broadway?
Speaker 1 (19:17):
I mean I always say, like right now, with where
things are, what is truly the difference between Broadway and
Vegas a Vegas show, Right, what is what was it
in the eighties and nineties that made Broadway Broadway and
Vegas Vegas?
Speaker 2 (19:35):
I can tell you what I think is wrong people
to Vegas now all of the the legacy acts from
our generation that are actually going there and doing residencies. Right,
So it's the ushers, you know, Gez got with that
new addition.
Speaker 5 (19:46):
Has been there.
Speaker 1 (19:52):
That's my that's mine, that's mine, that's it.
Speaker 2 (19:55):
Yeah, yeah, so there have to be just something new
injected into that area.
Speaker 7 (20:01):
But you know, you just made me think of that,
Alex you just because I really didn't pay attention to
that Broadway is only New York City Times Square. Yeah,
I literally did not even think about that being that way.
Speaker 4 (20:14):
It can be in LA. It should be in LA.
Speaker 7 (20:16):
It can be somewhere down south, it can be like
why is it only subjected to in Atlanta?
Speaker 6 (20:22):
Atlanta?
Speaker 5 (20:23):
That would be amazing, you know, you know.
Speaker 4 (20:25):
Hell yeah, you know, I just didn't think of that
until you said that.
Speaker 3 (20:29):
So and it has I mean, what what like Broadway?
You know what whatever it is, there's this there's like
a spiritual sort of like chokehold that it has on people.
But you know what, what is it that relinquishes that hold? Uh,
so that people can find that same sort of joy
(20:52):
and be willing to support work that is not in
those in those spaces, Uh, theater are should be artists
for everyone, right, Broadway is the height of commercial theater.
It's not the it's not the greatest form of live
performance that is happening, but it's it's got the loudest
(21:16):
megaphone as far as you know, with advertising budget to
get the message about like come see our show. But
it's it's not necessarily like cutting edge all the time.
It's not necessarily making people really really think.
Speaker 6 (21:33):
Especially now it's.
Speaker 3 (21:35):
All about revivals, it's all about movie. Yeah, it's it's
all about IP But that's the same thing. That's that's
the big thing with the commercial space, Like the people
with money only want to invest in these sure things.
And what's the biggest hit show right now? It's none
of those things. It's Hamilton, an original show, which is
(21:57):
I mean, like the story is not original, but like
it is that idea is wholly original.
Speaker 2 (22:03):
Which is great because it feels like it's all the
things that Broadway does not. Like I'm just speaking from
the outside looking at Yeah, Hamilton is hip hop, it's black,
it's brown. It's like we don't want that element over here.
Speaker 3 (22:12):
Yeah, you have to take risks. You have to take risks,
and you have to try new things to to gain
the trust and love of audiences like you. You have
to go there. So like, you can't be successful if
you are playing it safe and you're you know, you're
just trying to rehash these old things. That doesn't really
work on paper. But but how do you convince people
(22:36):
that hold all the cards to take these risks money?
Speaker 2 (22:41):
And that's why even you know, another plated I thought
generated a lot of great assignment on Broadway was Ain't
No More Jordan Google Man. It's a phenomenal show, but
people didn't show up to watch it like they should.
Speaker 3 (22:53):
Have generational talent. I mean, yeah, generational talent.
Speaker 1 (22:58):
I still think it's it's it's that element of again,
like when my parents were kids, you had to dress
up to go to Broadway. It was an event, just
like going on an airplane. You had to dress up
to go on an airplane nowadays. And no disrespect, because
I'm a firm believer in come as you are but
when you go and you see a line standing outside Broadway,
you know, one fourth the people addressed up, that's usually
(23:20):
the older generation, and then you got all the kids.
You know, when I was a kid, I always thought
Broadway is basically like going to church, you know, like
there was no such thing as formal wear. It was
church clothes, you know what I'm saying. So I think
nowadays too, like I said, with the money aspect, which
has always been a thing, and they're trying to make
it more accessible. But when start when you start bringing
(23:42):
in these ips that it's, oh, kids are going to
love this, but kids can't afford to see it, you know,
So then what you have like one or two days
a year where it's like discounted tickets. How discounted all
the tickets? You know what I'm saying, And like we're
really cool. In about a week or so, we're going
to start what we call our school schedule. So now
we're going to have the schools come in during the matinees.
Those are the best days because then you see like
(24:04):
all the theater, the crazy theater techno stuff. You saw,
the kids are like whoa you know, you know, and
it gives us energy, you know. But I don't know
what the fix is because it's been like this for
so long, you know, and it's the same idea. You know,
we as actors were always asking for things. And I
(24:26):
understand also where like the producers come from, because it's
like it's not like you're just gonna stop asking for
things when we give it to you. So there's that
element too. I don't know what the fix is. I
just know, like I think the goal for us is
to keep bodies that look like us, to keep bringing
them in, whether it is to do theater, to work
(24:48):
in theater, to see theater, you know. And again, like
I said, our lives aren't just theater.
Speaker 5 (24:53):
You know.
Speaker 1 (24:54):
We could walk away from the show tomorrow and he
could end up doing a movie. I could end up
doing a TV show.
Speaker 3 (24:58):
You know.
Speaker 1 (24:58):
It's we have to do everything nowadays, you know. But
I do believe firmly theater will be the last thing
to be taken over by AI if that ends up
being a thing, because you can't replicate real bodies in
a real space, not yet.
Speaker 4 (25:15):
You just can't.
Speaker 1 (25:15):
You know, this is in Westworld, you know, this is
a terminator. You can't do that yet, And so I
think at the end of the day, it's going to
be brainstorming. How do we make it more accessible? How
do we convince the people who are making the most
money from this to make it more accessible?
Speaker 2 (25:34):
I mean, for me, Man, I think what you said
is so true when you look at something like Hamilton, right,
if I was a producer in that space, I'd be
looking for more at oos. So you know what's after that.
Hamilton's adding people like you the outside, but it's also
that ain't no mores. But it's also the MJ the musicals,
like if you see that audience coming there and being
energized by it, and people liking this style of hell
(25:56):
Alicia keys Hell's kitchen, give me more of that, Give
give me more of a reason to, you know, want to.
Speaker 1 (26:02):
Be sorry for you because, as I said earlier, also
shout out to Myles Frost. I was a part of
the original past. I was a swing and him and
I were pretty good friends. And it was interesting because
I'm a Michael Jackson stand. I had another show that
I could have gone on tour to do and because
I said I would never swing, but I said, first
Broadway show and it's Michael Jackson.
Speaker 5 (26:22):
I'm taking it.
Speaker 1 (26:24):
Those first few shows, the audiences were so.
Speaker 6 (26:30):
Low.
Speaker 1 (26:31):
There was not a lot of people in seats. We
weren't doing publicity and things like that, and you know,
obviously there was some questionable things out at the time
about Michael. After the Tony Awards, all of a sudden,
our houses are filled, you know. And I remember sitting
there just with the faith of like being on Broadway
for the first time, the excitement of it. People would
be like, Man, I'm worry. Man, I'm like, why you worry?
(26:52):
This is Michael Jackson. This is Michael Jackson.
Speaker 5 (26:55):
You know.
Speaker 1 (26:56):
The reason they're not in seats is because we haven't
put it out there. But as soon as we put
it out there, you know what, that's exactly what happens.
Speaker 4 (27:04):
Because he's big in Europe, he's bro he's.
Speaker 1 (27:07):
Everywhere, you know, and Michael no disrespect to anyone's opinions.
But the bottom line is Michael is the goat. And
that is why his show, I said, even if it
was bad, would make money because it's Michael Jackson. It
just so happened to be brilliant. You know, our show,
I personally believe it is brilliant. There is nothing like
(27:27):
what happens in The Outsiders on stage in America right now,
there's nothing like it. But that's the issue we need
to how do we get people to see it who
don't have the money to see it, you know? And
I think that's what Broadway should be about. It should
be about, you know, like when the kids come and
they see the show and then they're sitting standing outside
(27:48):
and you know, we walk outside.
Speaker 5 (27:50):
It's like we're celebrities to them. You know.
Speaker 1 (27:53):
I'm like, and that's that maybe their first Broadway show.
I don't I don't know what the I don't know
what the secret is. I don't know what it is.
I don't know what the solution is.
Speaker 6 (28:00):
But well I will say that.
Speaker 3 (28:02):
You know that that Dallas Cowboys Cheerleaders show that was
on Netflix, The Documents, they did a Netflix series that
was sort of like the process of like making the
team and their tryouts and everything. Every Broadway show, every
Broadway show should have a fully produced series about the
(28:24):
audition process, about the cuts. Get allow people audiences at
home that don't They don't even have to pay for
the price of a ticket. They could just be paying
for their subscriptions. I don't know why Broadway tickets are
not on a payment plan corner or after pay come on,
come on, But you'd have to leave your your tower
to like see what's happening on Earth to find out
(28:46):
that information. But you you create a series like that,
you allow people to build a relationship.
Speaker 6 (28:54):
We have so many things like this.
Speaker 3 (28:55):
We have American Idol, we have all these we have
all of these sort.
Speaker 6 (28:58):
Of elimination shows. People are familiar with that.
Speaker 3 (29:00):
You produce those series, you spend the money, you you
get to people at home, You allow them to build
a relationship with with everybody, and then they can go
see the people in real life when they go see
the show and you've you've created uh stars, Yeah, that
people have a personal relationship with and then maybe if
(29:24):
you can afford the ticket, you you make your trip
to New York and you see it. But I mean
they've kind of done that. They did that with Legally
Blonde and Greece back in the day.
Speaker 4 (29:35):
Remember cheer on Netflix.
Speaker 8 (29:37):
Yes, yes, kind of worked all look crazy for some
of them, but they turned into like really big stars,
like outside of cheering and cheerleading, and people came cheerleading
got into their world and wanted to go see them cheers, that.
Speaker 1 (29:52):
Kid popping, Yeah, that Dance Academy. It was like, there's
the group, there's that group, and they had that document.
They had like a whole competition show, you know. But no,
if that would be so smart, if they were.
Speaker 3 (30:06):
People want to know what happens behind People want to
know what happens behind the scenes.
Speaker 5 (30:09):
Yeah they do, yeah they Yeah.
Speaker 4 (30:12):
If somebody can pull it together and pull it off,
hell yeah, I think that would make a difference. Well listen, man,
I got to see Outsiders. I'm the only one I.
Speaker 8 (30:20):
Really I read the book. I had to in school.
That's why when you said the kids day, I was like,
that's cool to yes, but yeah, I haven't seen it.
Speaker 4 (30:28):
I'm coming.
Speaker 1 (30:29):
And again a testament to you know, like I said,
you know, my mother and my father we believe that
Michael was going to be successful.
Speaker 5 (30:35):
It is because it's still on Broadway, you know.
Speaker 1 (30:37):
And when I did Outsiders, you know, I had to
leave MJ and I know my you know, my dad
was very much about man, you know, in the future,
you may not be able to do that if you
don't have the funds to do this.
Speaker 5 (30:48):
But I was so glad I made that decision because.
Speaker 1 (30:51):
Outsiders the book, like you said, so many kids have
read it. I was like, again, even if the show
is bad, it will still make some money because the
demographic is there. That and these producers know that. They
know that, which is why they fund something like The Outsiders,
you know, as opposed to Hamilton, which back in the
day probably would have been a risk, you know, because
it's like, now, you want to do this old American
(31:13):
story that the majority of these people are white, but
you're gonna cast them as people of color. I could
only imagine being in the room waiting for the producers
seeing what they say about that.
Speaker 5 (31:23):
You know what I'm saying.
Speaker 7 (31:24):
But whether we want to admitte, the weather people want
admitting and everybody like a little black.
Speaker 5 (31:32):
They do, they do.
Speaker 2 (31:33):
Listen, man, thank y'all for joining us. Make sure y'all
go out there and check the Outsiders out on Broadways.
It's every day right Monday through Friday.
Speaker 6 (31:39):
Monday's our day off.
Speaker 3 (31:41):
Tuesday through Sunday shows a week May Jesus, y'all white
people eight times a week.
Speaker 2 (31:48):
Yeah, I don't give give up the playff.
Speaker 4 (31:52):
Get up, man, hats off. I'm so proud of y'all brothers.
Speaker 7 (31:56):
Y'all do this, y'all do this six days a week
that it's hard.
Speaker 4 (32:00):
I know it's hard, and I know y'all barely have life.
Speaker 6 (32:03):
It's fun, though, and.
Speaker 4 (32:04):
I love that it is.
Speaker 7 (32:06):
But it ain't really much that y'all do outside of this, right, Yeah,
But it's great that you love.
Speaker 5 (32:11):
What you do.
Speaker 4 (32:11):
And I'm probably I can't wait to see all the
stage and tell.
Speaker 2 (32:13):
Them to follow you.
Speaker 1 (32:17):
At Renny Underscore Anthony on Instagram. That's r E N
N I Underscore Anthony.
Speaker 3 (32:22):
Uh At Alex j G Sings on Instagram. At Alex
a l e x j G s I n G
j G Sings on Instagram.
Speaker 2 (32:42):
All ready, Alex, thank You's the breakfast club, every day.
Speaker 5 (32:48):
Breakfast club.
Speaker 4 (32:49):
You don't finish for y'all dumb
Don't every day a way?
Speaker 2 (00:03):
Click yours up the Breakfast Club finish for y'all done, mister,
one of the most dangerous morning show to Breakfast Club,
Charlamagne to God, Jess Hilarious, DJ Nvy, Envy's not here
but lay and La Rosa is and we got some
special guests in the building.
Speaker 3 (00:16):
Man.
Speaker 2 (00:16):
I went to go see this play a couple of
weeks ago. The Outsider is how y'all brothers doing? Introduce yourselves?
Speaker 4 (00:23):
Man?
Speaker 3 (00:23):
I'm Alex Joseph Grayson. I played Dallas Winston and The
Outsiders on Broadway.
Speaker 2 (00:27):
Good Morning, Alex.
Speaker 5 (00:28):
I'm Rennie Anthony McGee. I play Steve and The Outsiders.
Speaker 2 (00:31):
Man, how did y'all end up in The Outsiders? The
Outside has been historically white for as long as I
can remember. It was how dy'all end up in the Blade?
Speaker 6 (00:43):
You developed this thing?
Speaker 5 (00:44):
Yeah?
Speaker 6 (00:45):
So yeah.
Speaker 1 (00:45):
So, you know, in the theater world, we do these
things called workshops before we try to get an out
of town tryout, which is just sometimes it's not even
out of town. It could be in New York, you know,
off Broadway. So I was doing MJ on Broadway. It
was my first Broadway show. I was a swing, which
means I learned multiple roles. I got this audition choreographers
I had worked with before. I was praying for it.
(01:08):
The choreographers I had worked with before. I was praying
for it. And when we did it, we were working
through and they were working with this idea of different races, right,
because you have the socials and the greasers, so socioeconomically,
you know, in the sixties, with the exception of a
small percentage black people didn't have much wealth because this
(01:29):
country did not allow us to have that. So we
were trying to show this story about those with who
are less fortunate going against those who have it all
but maybe are less fortunate in other ways because you know,
some of these we don't know what goes on behind
rich family's doors. We do not, no matter what the
race is. But that's kind of how we came in here,
you know. Alex kind of slid in later. Yeah, actually,
(01:53):
believe it or not.
Speaker 3 (01:54):
I auditioned for an early version of The Outsiders.
Speaker 6 (01:58):
Before the pandemic. I want to say it was like
twenty eighteen.
Speaker 3 (02:03):
They called me in and you know, I got an
email from my talent agent that it was for The Outsiders.
For Dally actually, and I was like, this.
Speaker 6 (02:14):
Is the mad Dylan in the movie. This is interesting
that they're calling me in for this.
Speaker 3 (02:20):
But it was at a period of time in which
I noticed I had been getting a lot of auditions
for characters and these are nonfiction.
Speaker 6 (02:30):
These are they're fictional stories.
Speaker 3 (02:31):
Sorry, So, but I did think there was a trend
where I was being called in to play these roles
that were traditionally not black men. And I don't know
if that was a reflection of something that was happening
on Broadway and in theater where there was a movement
to sort of change some of the faces that were
(02:51):
telling the story, especially in a post Hamilton world in
which we're giving these American stories to people that are
not necessarily being considered like American in appearance. So, you know,
I gave it a stab, but nothing really happened in
twenty eighteen with that show didn't move forward for me.
(03:13):
So I had actually stopped thinking about it for a
while until about seven months ago. Now it's been it's
been like six or seven months that I've been with
the show, and it came around again. I auditioned for
the show before it came to Broadway, but it didn't
work out and I let it go, and luckily it
came around for me and now I'm a part of
it and it's a really great group of people that
(03:35):
I work with. The show is very exciting, it's very
physically demanding. It's very dangerous, which I'm learning firsthand. So
I have to take really good care of my body
and my health and every day take a breath. And
everybody's got different practices. I know when I see you
praying off on the side a lot, it's like, oh,
(03:55):
we just have to really still ourselves and care for
our instruments every time we walk on that stage.
Speaker 7 (04:02):
Man, I was just about to go into that asking
all y'all rituals or y'all practices, because listen that Broadway
you need your voice and you need to be able
to project.
Speaker 4 (04:12):
What exercises do you guys have to do? What can't
you do? And what you have to do? No? Well,
you know.
Speaker 1 (04:25):
Go, you know I will say, I mean above all else.
As Alex mentioned, I'm.
Speaker 5 (04:30):
A huge prayer.
Speaker 1 (04:32):
I have noticed during the performances where I forgot to
pray before people have gotten heard. Now for me, that's
the connection already. You know, I pray for a speedy show.
I pray for an efficient show, an enlightened show, a
fulfilling show, because oftentimes we're coming to the theater with
all of the things that are happening in this world,
(04:54):
you know, and we have to get on that stage
and tell this story, which is a sad so now
we have to live in that.
Speaker 5 (05:02):
And you know, one of the things they always talk
about is when.
Speaker 1 (05:05):
You're acting, your body does not know the difference between
real and fake. So when you bring yourself to that point,
you're there. Yeah, even if you subconsciously know, like that
sixth sense, oh this is not really really happening. Your
body doesn't, you know. My mom read you know, I
love you, Pamela Mugie, you the bomb. My mom she
(05:27):
read there was a study that said people who go
on stage they have the same amount of adrenaline as
soldiers going into battle. Yes, yes, And then you know
it's it's not too hard to believe because you know,
a lot of people are more afraid of public speaking
than dying. So it makes sense.
Speaker 2 (05:46):
So are you retraumatizing yourself having to do that fight
scene every.
Speaker 1 (05:52):
In so many words? Yes, yes, yes, I mean that's
a very that's I think there's more nuanced in that.
Speaker 4 (05:59):
But yees, yeah, I.
Speaker 3 (06:01):
Would say, you know, being being an actor, like, people
get into it for all sorts of reasons. I know
for me personally, I feel like I'm I'm very much
in in my purpose. I'm I I am here to
be uh, to be a conduit for for storytelling. I'm
(06:22):
here to to to bring.
Speaker 6 (06:24):
Messages to people.
Speaker 3 (06:27):
And I have been completely ushered into this this place
that I am in my life. It's not something that
I that I sought out. I've had so many people,
uh that have been guiding me to the place that
I'm at today.
Speaker 6 (06:40):
It's not it's not a choice at by by any means.
Speaker 3 (06:44):
And it's my It's my fifth Broadway show, and it's like,
it's not something that I try to really make sense of.
Speaker 5 (06:52):
It's just it's just.
Speaker 3 (06:53):
Where I am and a lot of what we do
when it gets down to the sort of technical aspect,
just as an actor, there's a lot of psychological stuff
that we have to draw on a lot of past experiences, trauma,
being able to experience emotional hardships, highs and lows, and
(07:14):
then sort of like pull those things back up, and
it's not always a positive experience. So I think to
recover from that, we have to be really really invested
in and caring for ourselves like that. Like I spend
so much time recovering, like that's.
Speaker 6 (07:29):
That's that's my free time.
Speaker 3 (07:30):
My free time is about recovery, rest, just placing hands
on on my my.
Speaker 6 (07:39):
Body, just.
Speaker 3 (07:41):
Stretching every every moment is about making sure that my
body feels safe, reminding myself that I'm safe, asking myself
for permission to do all of this again. Just like
Rennie said, you know, we get out there and we fight,
and uh, you know, I I have to then go
(08:05):
Like I know in the show, I sort of pound
my chest every night. I bang on my chest twice
in this one specific number. And then I leave stage
and I I I put I place a hand right
on my heart and I I literally say, I'm I'm sorry,
I'm sorry that I did this, and that it's okay.
Speaker 6 (08:28):
That was That was just a story that we were.
Speaker 3 (08:30):
Telling, and we trade. We're trading our time because it's
a job. This is a job at the end of
the day, and it's it's a gift to people. It
brings people joy, but it's also it's also a job,
and we're we're showing up because we have to we
have to work.
Speaker 6 (08:44):
We don't have we don't.
Speaker 2 (08:45):
Have a choice because you're you're you're black.
Speaker 6 (08:48):
So yeah, the show.
Speaker 2 (08:49):
Outside is to me is it's largely about class.
Speaker 5 (08:53):
But you feel the.
Speaker 2 (08:54):
Same, you know, obstacles, hurdles, you know, prejudices black people
would experience. So you say you're safe when you exit
the roll, but then you go to real life, so
you go from class to raise, which.
Speaker 6 (09:07):
You know, yeah, so do you I truly feel safe?
Speaker 5 (09:10):
I don't.
Speaker 3 (09:11):
Oh you know, yeah, it's a yes. So like what
and then what is what is the definition of safe?
Speaker 5 (09:18):
Come on, now?
Speaker 6 (09:19):
What is safety? What is what is safety?
Speaker 5 (09:21):
You know?
Speaker 1 (09:22):
We talk about drawing on life experiences, you know, and
some actors they say they don't.
Speaker 5 (09:29):
I don't.
Speaker 1 (09:29):
I've never necessarily believed that. You know, yes, when you
get in that moment, it's you and your scene partners,
but you you are all that you've ever been.
Speaker 5 (09:38):
Yeah, that's never gonna not be there.
Speaker 1 (09:42):
And like for me, you know, we talk about this
this idea of de rolling. You get off the stage
and you get out of the role. Some people it's
much easier than others.
Speaker 2 (09:50):
Me.
Speaker 5 (09:50):
I go home, I'll put on a movie. I love movies.
Speaker 1 (09:53):
A movie makes me I'm thinking about this person's issues
now gone. And you know, we talk about the prep
that happens before a show, but so much of that
prep actually happens after the show, warming down, warming down
your voice, so then when you wake up you don't
feel this horse.
Speaker 5 (10:07):
You see what I'm saying.
Speaker 1 (10:08):
You can only do so much before a show, that
you can do so much after a show, you know,
And to answer your question, no, I you know, recently,
within these past few weeks, on a personal level, I
have not felt safe. You know, I do the show.
I bring myself to this place because I don't even
want to say tears, but oftentimes it's tears.
Speaker 5 (10:30):
You know.
Speaker 1 (10:31):
You know, I'm on stage and I'm seeing another black
brothern die in front of me, and then another one
and then I leave and I see that on TV
on social media, and you know, the one thing that
helps me is I am very much. I'm just gonna
I'm gonna go in prayer, I'm gonna journal, I'm gonna
watch some movies, I'm gonna play some video games, and
then I'm gonna do what I need to do because
(10:52):
at the end of the day, you know, when this
show is over, I got another job to do, whether
it's a TV show or a film, another Broadway show,
and then we have a whole other set of problems
that that piece of work is going to bring, but
also a whole other set of joyous moments that that's
going to bring.
Speaker 8 (11:09):
Are there resources that Broadway provides you then in those
circumstances like, are there like because I know y'all got
like coaches, right, and people that are helping you with
live performance and the effects and all that stuff. But
is there someone there that's like, let me check in
on y'all real quick.
Speaker 4 (11:22):
That girl is good? I like that.
Speaker 3 (11:26):
Yeah, I mean so, I will say this, and this
is just in case you have any young listeners that
are like, I want to do I want to do Broadway,
or anybody of any any age, because it's not it's
not just young people that work on Broadway. I will
say it is a It is a business first and foremost,
and I say this is this is the downside. And
I wish that Broadway would learn from professional sports leagues.
(11:51):
The investment Number one should be in the health and
safety of the people that are keeping the business this alive,
the performers, the athletes, And I think this unfortunate thing
about commercial theater is all the attention is how do
we get butts in seats? How do we how do
(12:12):
we sell these tickets, and not necessarily in keeping the
performers healthy, And that's why Broadway sort of has the
the issues that it has. I think the focus is
in the wrong place. So there there is an investment.
We have a PT person that's there. We have one
PT person on site. I don't think that's enough. Physic
(12:36):
physical therapist, physical therapist.
Speaker 6 (12:37):
I'm so sorry.
Speaker 3 (12:38):
Yeah, so we have one PT person. I think there
should probably be like three or four there. There should
be there should be a mental health professional like like
a like a sports psychologist person on site that I
think there should be an acting coach on site. But
that doesn't have to do with ticket sales. And I
(12:59):
think that's just a core misunderstanding because the people that
are making the decisions about this thing don't actually have
the ability or skill set to do the thing that
keeps the business running. They provide, they provide the real
estate and the venue. Uh that and that's pretty much it.
Speaker 2 (13:19):
Uh So, I just want the record to show too,
if Rock Nation would have got the casino on Times Square,
they wanted to do all of that for Broadway. Uh performance,
I just want to throw that out there.
Speaker 7 (13:26):
That's what I love about Window Peers because Wendell Peers
has a mentality. Doesn't he have an organization or foundation
that's trying to develop programs where you guys can have that,
where Broadway actors and extressists can actually have those resources,
even down to even down to some of the women.
Speaker 4 (13:47):
Because y'all work six days a week, sometimes y'all.
Speaker 2 (13:49):
Don't have a break so like, and that's why Wedell
was partnered with Rock Nation services that relief, the mental
health services.
Speaker 5 (13:59):
It's called No we didn't. We only heard about casino.
Speaker 8 (14:02):
Yeah, only, That's that's why they were out there. Like
that's what made me realize to suck it up culture
in Broadway when I started looking into the casino and
why y'all, Why not y'all specifically, but why people were
so upset? And I realized that you guys looked at
it like, Okay, now we're gonna have even more pressure
to work because we got to compete with this casino.
But they literally had a whole setup for wellness health. Yes,
(14:24):
they for money into your guys.
Speaker 2 (14:26):
They had a rock mission. I had a plan for Broadway.
They had Broadway tickets for underserved communities. It was like
a twenty million dollar proposal that they were going to
allocate the purchase tickets for in burrows like the Bronx,
Brooklyn and Queens.
Speaker 5 (14:36):
They had Broadway worker support, which.
Speaker 2 (14:39):
Was going to be in which is going to be
invested in the childcare services, debt relief, mental health services. Yes,
damn they never told yet.
Speaker 3 (14:48):
I mean we were not, uh Broadway actors were not
petitioning to stop the casino, but somebody definitely paid to
put a big no casino. So but you know, this
is this is about this is about territory. You know,
this is this is turf.
Speaker 5 (15:07):
You know that.
Speaker 3 (15:08):
So I want to ask about that.
Speaker 5 (15:09):
The record.
Speaker 2 (15:10):
I'm I love Broway, I've been going to I've be
living in New York and the Old six me and
my wife, I take my kids. I'll go to a
lot of Broadway plays. But I feel like the Broadway
audience isn't getting younger, Like I feel like it's still
a lot of older people that going and how many
times are you going to go see outside? And how
many times are you going to go see how many
times can you go see the Lion King?
Speaker 4 (15:29):
Like at some point, I.
Speaker 2 (15:31):
Just don't feel like the audience is growing. I could
be wrong, but.
Speaker 1 (15:34):
It's also I think that, you know, the element that
always affects everyone in this country and others money, money, money,
you know, you know.
Speaker 5 (15:43):
You have a you have a show.
Speaker 1 (15:45):
There was a show on Broadway this year that set
a record, and it is the highest grossing play on
Broadway ever. We won't go into the names, but I'm
sure we know which one that was. And you know,
it had too very famous film actors in it, you know,
a very famous director.
Speaker 6 (16:05):
And why.
Speaker 1 (16:08):
Okay, yeah it was, but you know, it set a record.
Speaker 5 (16:16):
It's what it is.
Speaker 1 (16:17):
I think the highest grossing play off Broadway ever. There
were no nominations for that show as far as I remember,
you know. And I think it's the element of who
has the money to pay to go? Like you said,
you are taking who your wife and your kids. Your
kids aren't taking you. They don't have the money you do, right,
So I would naturally think that as we continue to
(16:40):
move in this into the future. You know, It's true.
The people who have the money are the people who
have more experience, you know, the people who are older.
You know, so I and again, the whole game is
it's a business. You know, we we are like again,
why you know I'm sitting here, like, why didn't we
know that? All I knew about was the casino? That
(17:03):
was probably not on purpose, like you said.
Speaker 4 (17:05):
No nomination.
Speaker 3 (17:08):
I think Broadway is ripe for expansion, especially like with
you know, all the AI stuff. Just what's happening with
on screen work right now. I think, you know, studios
want to save money on movie production, TV show production.
I think this is a really really great time for
(17:30):
live theater to really have a renaissance, But it requires expansion.
And then you know, it's like what is Broadway?
Speaker 6 (17:38):
People love Broadway? What is what is Broadway? Is it?
Speaker 3 (17:44):
Is it a known brand that is only is it?
Is it only these theaters? Or can can Broadway be
more than just these few theaters in the Times Square area?
Speaker 6 (17:59):
Can't can it be more venues? Like like people do.
Speaker 3 (18:03):
Theater all over the place, and why does it have
to take place in these few buildings here? And I
think that there's a there's a branding problem, and there's
an accessibility issue that's been going on for years and
it's not really it's not really that hard, but there
(18:25):
are a few people that have ownership of what that is.
And I think that's what needs to expand because once
that that ownership is sort of spread out a little bit,
I think we can start to think a little bit
more freely about how we get people into these spaces.
Speaker 2 (18:46):
I agree with you because my biggest my biggest fear
is that you know, in the next three to five years,
there's not gonna be any real investments in that Times
Square area. And if you see what Time Square is
going now, like Tome Square, aint a place that you
really want to be, like you know, I mean there's nothing,
don't feel the safest, it's nothing new and sexy drawing
you there, like you're going for a specific reason. But
the most people they are taurus for in the next
(19:08):
three to five years, if there's no new investments in
the Times Square, what draw is there other than Broadway?
But how is that going to also impact Broadway?
Speaker 1 (19:17):
I mean I always say, like right now, with where
things are, what is truly the difference between Broadway and
Vegas a Vegas show, Right, what is what was it
in the eighties and nineties that made Broadway Broadway and
Vegas Vegas?
Speaker 2 (19:35):
I can tell you what I think is wrong people
to Vegas now all of the the legacy acts from
our generation that are actually going there and doing residencies. Right,
So it's the ushers, you know, Gez got with that
new addition.
Speaker 5 (19:46):
Has been there.
Speaker 1 (19:52):
That's my that's mine, that's mine, that's it.
Speaker 2 (19:55):
Yeah, yeah, so there have to be just something new
injected into that area.
Speaker 7 (20:01):
But you know, you just made me think of that,
Alex you just because I really didn't pay attention to
that Broadway is only New York City Times Square. Yeah,
I literally did not even think about that being that way.
Speaker 4 (20:14):
It can be in LA. It should be in LA.
Speaker 7 (20:16):
It can be somewhere down south, it can be like
why is it only subjected to in Atlanta?
Speaker 6 (20:22):
Atlanta?
Speaker 5 (20:23):
That would be amazing, you know, you know.
Speaker 4 (20:25):
Hell yeah, you know, I just didn't think of that
until you said that.
Speaker 3 (20:29):
So and it has I mean, what what like Broadway?
You know what whatever it is, there's this there's like
a spiritual sort of like chokehold that it has on people.
But you know what, what is it that relinquishes that hold? Uh,
so that people can find that same sort of joy
(20:52):
and be willing to support work that is not in
those in those spaces, Uh, theater are should be artists
for everyone, right, Broadway is the height of commercial theater.
It's not the it's not the greatest form of live
performance that is happening, but it's it's got the loudest
(21:16):
megaphone as far as you know, with advertising budget to
get the message about like come see our show. But
it's it's not necessarily like cutting edge all the time.
It's not necessarily making people really really think.
Speaker 6 (21:33):
Especially now it's.
Speaker 3 (21:35):
All about revivals, it's all about movie. Yeah, it's it's
all about IP But that's the same thing. That's that's
the big thing with the commercial space, Like the people
with money only want to invest in these sure things.
And what's the biggest hit show right now? It's none
of those things. It's Hamilton, an original show, which is
(21:57):
I mean, like the story is not original, but like
it is that idea is wholly original.
Speaker 2 (22:03):
Which is great because it feels like it's all the
things that Broadway does not. Like I'm just speaking from
the outside looking at Yeah, Hamilton is hip hop, it's black,
it's brown. It's like we don't want that element over here.
Speaker 3 (22:12):
Yeah, you have to take risks. You have to take risks,
and you have to try new things to to gain
the trust and love of audiences like you. You have
to go there. So like, you can't be successful if
you are playing it safe and you're you know, you're
just trying to rehash these old things. That doesn't really
work on paper. But but how do you convince people
(22:36):
that hold all the cards to take these risks money?
Speaker 2 (22:41):
And that's why even you know, another plated I thought
generated a lot of great assignment on Broadway was Ain't
No More Jordan Google Man. It's a phenomenal show, but
people didn't show up to watch it like they should.
Speaker 3 (22:53):
Have generational talent. I mean, yeah, generational talent.
Speaker 1 (22:58):
I still think it's it's it's that element of again,
like when my parents were kids, you had to dress
up to go to Broadway. It was an event, just
like going on an airplane. You had to dress up
to go on an airplane nowadays. And no disrespect, because
I'm a firm believer in come as you are but
when you go and you see a line standing outside Broadway,
you know, one fourth the people addressed up, that's usually
(23:20):
the older generation, and then you got all the kids.
You know, when I was a kid, I always thought
Broadway is basically like going to church, you know, like
there was no such thing as formal wear. It was
church clothes, you know what I'm saying. So I think
nowadays too, like I said, with the money aspect, which
has always been a thing, and they're trying to make
it more accessible. But when start when you start bringing
(23:42):
in these ips that it's, oh, kids are going to
love this, but kids can't afford to see it, you know,
So then what you have like one or two days
a year where it's like discounted tickets. How discounted all
the tickets? You know what I'm saying, And like we're
really cool. In about a week or so, we're going
to start what we call our school schedule. So now
we're going to have the schools come in during the matinees.
Those are the best days because then you see like
(24:04):
all the theater, the crazy theater techno stuff. You saw,
the kids are like whoa you know, you know, and
it gives us energy, you know. But I don't know
what the fix is because it's been like this for
so long, you know, and it's the same idea. You know,
we as actors were always asking for things. And I
(24:26):
understand also where like the producers come from, because it's
like it's not like you're just gonna stop asking for
things when we give it to you. So there's that
element too. I don't know what the fix is. I
just know, like I think the goal for us is
to keep bodies that look like us, to keep bringing
them in, whether it is to do theater, to work
(24:48):
in theater, to see theater, you know. And again, like
I said, our lives aren't just theater.
Speaker 5 (24:53):
You know.
Speaker 1 (24:54):
We could walk away from the show tomorrow and he
could end up doing a movie. I could end up
doing a TV show.
Speaker 3 (24:58):
You know.
Speaker 1 (24:58):
It's we have to do everything nowadays, you know. But
I do believe firmly theater will be the last thing
to be taken over by AI if that ends up
being a thing, because you can't replicate real bodies in
a real space, not yet.
Speaker 4 (25:15):
You just can't.
Speaker 1 (25:15):
You know, this is in Westworld, you know, this is
a terminator. You can't do that yet, And so I
think at the end of the day, it's going to
be brainstorming. How do we make it more accessible? How
do we convince the people who are making the most
money from this to make it more accessible?
Speaker 2 (25:34):
I mean, for me, Man, I think what you said
is so true when you look at something like Hamilton, right,
if I was a producer in that space, I'd be
looking for more at oos. So you know what's after that.
Hamilton's adding people like you the outside, but it's also
that ain't no mores. But it's also the MJ the musicals,
like if you see that audience coming there and being
energized by it, and people liking this style of hell
(25:56):
Alicia keys Hell's kitchen, give me more of that, Give
give me more of a reason to, you know, want to.
Speaker 1 (26:02):
Be sorry for you because, as I said earlier, also
shout out to Myles Frost. I was a part of
the original past. I was a swing and him and
I were pretty good friends. And it was interesting because
I'm a Michael Jackson stand. I had another show that
I could have gone on tour to do and because
I said I would never swing, but I said, first
Broadway show and it's Michael Jackson.
Speaker 5 (26:22):
I'm taking it.
Speaker 1 (26:24):
Those first few shows, the audiences were so.
Speaker 6 (26:30):
Low.
Speaker 1 (26:31):
There was not a lot of people in seats. We
weren't doing publicity and things like that, and you know,
obviously there was some questionable things out at the time
about Michael. After the Tony Awards, all of a sudden,
our houses are filled, you know. And I remember sitting
there just with the faith of like being on Broadway
for the first time, the excitement of it. People would
be like, Man, I'm worry. Man, I'm like, why you worry?
(26:52):
This is Michael Jackson. This is Michael Jackson.
Speaker 5 (26:55):
You know.
Speaker 1 (26:56):
The reason they're not in seats is because we haven't
put it out there. But as soon as we put
it out there, you know what, that's exactly what happens.
Speaker 4 (27:04):
Because he's big in Europe, he's bro he's.
Speaker 1 (27:07):
Everywhere, you know, and Michael no disrespect to anyone's opinions.
But the bottom line is Michael is the goat. And
that is why his show, I said, even if it
was bad, would make money because it's Michael Jackson. It
just so happened to be brilliant. You know, our show,
I personally believe it is brilliant. There is nothing like
(27:27):
what happens in The Outsiders on stage in America right now,
there's nothing like it. But that's the issue we need
to how do we get people to see it who
don't have the money to see it, you know? And
I think that's what Broadway should be about. It should
be about, you know, like when the kids come and
they see the show and then they're sitting standing outside
(27:48):
and you know, we walk outside.
Speaker 5 (27:50):
It's like we're celebrities to them. You know.
Speaker 1 (27:53):
I'm like, and that's that maybe their first Broadway show.
I don't I don't know what the I don't know
what the secret is. I don't know what it is.
I don't know what the solution is.
Speaker 6 (28:00):
But well I will say that.
Speaker 3 (28:02):
You know that that Dallas Cowboys Cheerleaders show that was
on Netflix, The Documents, they did a Netflix series that
was sort of like the process of like making the
team and their tryouts and everything. Every Broadway show, every
Broadway show should have a fully produced series about the
(28:24):
audition process, about the cuts. Get allow people audiences at
home that don't They don't even have to pay for
the price of a ticket. They could just be paying
for their subscriptions. I don't know why Broadway tickets are
not on a payment plan corner or after pay come on,
come on, But you'd have to leave your your tower
to like see what's happening on Earth to find out
(28:46):
that information. But you you create a series like that,
you allow people to build a relationship.
Speaker 6 (28:54):
We have so many things like this.
Speaker 3 (28:55):
We have American Idol, we have all these we have
all of these sort.
Speaker 6 (28:58):
Of elimination shows. People are familiar with that.
Speaker 3 (29:00):
You produce those series, you spend the money, you you
get to people at home, You allow them to build
a relationship with with everybody, and then they can go
see the people in real life when they go see
the show and you've you've created uh stars, Yeah, that
people have a personal relationship with and then maybe if
(29:24):
you can afford the ticket, you you make your trip
to New York and you see it. But I mean
they've kind of done that. They did that with Legally
Blonde and Greece back in the day.
Speaker 4 (29:35):
Remember cheer on Netflix.
Speaker 8 (29:37):
Yes, yes, kind of worked all look crazy for some
of them, but they turned into like really big stars,
like outside of cheering and cheerleading, and people came cheerleading
got into their world and wanted to go see them cheers, that.
Speaker 1 (29:52):
Kid popping, Yeah, that Dance Academy. It was like, there's
the group, there's that group, and they had that document.
They had like a whole competition show, you know. But no,
if that would be so smart, if they were.
Speaker 3 (30:06):
People want to know what happens behind People want to
know what happens behind the scenes.
Speaker 5 (30:09):
Yeah they do, yeah they Yeah.
Speaker 4 (30:12):
If somebody can pull it together and pull it off,
hell yeah, I think that would make a difference. Well listen, man,
I got to see Outsiders. I'm the only one I.
Speaker 8 (30:20):
Really I read the book. I had to in school.
That's why when you said the kids day, I was like,
that's cool to yes, but yeah, I haven't seen it.
Speaker 4 (30:28):
I'm coming.
Speaker 1 (30:29):
And again a testament to you know, like I said,
you know, my mother and my father we believe that
Michael was going to be successful.
Speaker 5 (30:35):
It is because it's still on Broadway, you know.
Speaker 1 (30:37):
And when I did Outsiders, you know, I had to
leave MJ and I know my you know, my dad
was very much about man, you know, in the future,
you may not be able to do that if you
don't have the funds to do this.
Speaker 5 (30:48):
But I was so glad I made that decision because.
Speaker 1 (30:51):
Outsiders the book, like you said, so many kids have
read it. I was like, again, even if the show
is bad, it will still make some money because the
demographic is there. That and these producers know that. They
know that, which is why they fund something like The Outsiders,
you know, as opposed to Hamilton, which back in the
day probably would have been a risk, you know, because
it's like, now, you want to do this old American
(31:13):
story that the majority of these people are white, but
you're gonna cast them as people of color. I could
only imagine being in the room waiting for the producers
seeing what they say about that.
Speaker 5 (31:23):
You know what I'm saying.
Speaker 7 (31:24):
But whether we want to admitte, the weather people want
admitting and everybody like a little black.
Speaker 5 (31:32):
They do, they do.
Speaker 2 (31:33):
Listen, man, thank y'all for joining us. Make sure y'all
go out there and check the Outsiders out on Broadways.
It's every day right Monday through Friday.
Speaker 6 (31:39):
Monday's our day off.
Speaker 3 (31:41):
Tuesday through Sunday shows a week May Jesus, y'all white
people eight times a week.
Speaker 2 (31:48):
Yeah, I don't give give up the playff.
Speaker 4 (31:52):
Get up, man, hats off. I'm so proud of y'all brothers.
Speaker 7 (31:56):
Y'all do this, y'all do this six days a week
that it's hard.
Speaker 4 (32:00):
I know it's hard, and I know y'all barely have life.
Speaker 6 (32:03):
It's fun, though, and.
Speaker 4 (32:04):
I love that it is.
Speaker 7 (32:06):
But it ain't really much that y'all do outside of this, right, Yeah,
But it's great that you love.
Speaker 5 (32:11):
What you do.
Speaker 4 (32:11):
And I'm probably I can't wait to see all the
stage and tell.
Speaker 2 (32:13):
Them to follow you.
Speaker 1 (32:17):
At Renny Underscore Anthony on Instagram. That's r E N
N I Underscore Anthony.
Speaker 3 (32:22):
Uh At Alex j G Sings on Instagram. At Alex
a l e x j G s I n G
j G Sings on Instagram.
Speaker 2 (32:42):
All ready, Alex, thank You's the breakfast club, every day.
Speaker 5 (32:48):
Breakfast club.
Speaker 4 (32:49):
You don't finish for y'all dumb
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