ALDEN'S DILEMMA with Stan Ivar and Pamela Roylance

Episode Transcript
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Speaker 3 (02:28):
Well. Hello, Hello, Hello, bonnet heads, how are you. I'm
Pamela Bob, your host, creator and star of Living on
a Prairie, and I am here with our beloved prairie bitch.
That's right, Ellison Arngrebber and everybody's hashtag imaginary boyfriend, but
my first hashtag imaginary boyfriend. He's here. Dean Butler, how

(02:52):
are you guys?

Speaker 5 (02:53):
Very good, Bat, very good. Yeah, no, it's it's it's
a happy day. I mean, we're where we are really
going to have some fun today, talking to well one
we've spoken to before, someone else we haven't spoken to before.
Looking forward to that. We've got some fun things coming

(03:15):
up in Little House World, and Alison and I are
bopping all over the place Indianapolis on September sixth, I'm
in Mansfield at the end of September Fan Expo. In October,
we are doing a really cool thing in New York City,
a live version of this podcast from NYC on November twenty.

Speaker 3 (03:37):
Second, one pm at the Green Room forty two. We're
doing a live podcast recording with a live audience. That's you, guys.
And also for those who cannot be in New York City,
we are offering digital streaming tickets to where you can
watch from anywhere around the world. I think it's going
to be very cool the digital streaming ticket. Just know

(03:59):
that that link is live for about thirty days, so
you can watch it whenever you can watch it.

Speaker 5 (04:05):
And then on December twelfth, thirteenth, fourteenth, we are I'm
not a formal announcement, but keep your keep your you know,
put it on your calendar. A Little House in the
Prairie Cast Reunion event at Strathon Park and see me
Valley Beautiful eighteen hundred's recreation location. I think it's going
to be beautiful. A holiday celebration. Allison, you are everywhere

(04:27):
on planet Earth? Where are you going to be? We're
togethering some of this and not in other things.

Speaker 6 (04:32):
I'm coming to Indiana for the Thing the Thing Where
and at this event for Blue Angel Connected Cherry, I'll
be doing my show. You're going to get see Confessions.
Plus we'll be signing autographs. You, me and Karen Grassley's.

Speaker 7 (04:45):
Coming to this one.

Speaker 6 (04:46):
So that's gonna be a who And then the next
week and offter Peppen Peppin where Laura was born and
it's terrible Laura's birthplace.

Speaker 7 (04:53):
Nellie Olson is going to be stomping all over it,
but that's fun.

Speaker 4 (04:56):
Do you know what you're doing?

Speaker 7 (04:57):
Do you know what you're doing?

Speaker 8 (04:58):
You know how we always do photo ops.

Speaker 6 (05:00):
Cute things like in See Me, we had like the
Holy see Yeah, they went and got an antique wheelchair
so you can take pictures with me in the wheel
top in it.

Speaker 5 (05:08):
That's He's awesome, you know. Now are you in the
wheelchair or it's the guest in the.

Speaker 7 (05:12):
Wheelchair, just whichever the way they like it.

Speaker 9 (05:15):
But you know, this is Wesley.

Speaker 6 (05:17):
You are a little west little Westley or a little
Wesley or from Land of the Lost. He and uh
was it Kathy, And he went to the store and
he just got bought a big old rubber raft like
Big five Sport, got a big yellow raft and some
oars and now they do photo ops with them in
the raft like the show, and everybody goes, ah, help dinosaurs.

Speaker 3 (05:36):
It's it's genius.

Speaker 7 (05:38):
And I was like, why why am why am I
not doing it?

Speaker 3 (05:40):
Yes?

Speaker 7 (05:41):
And he was even Wesley, was you need a wheelchair?

Speaker 6 (05:44):
And so yeah, yeah, we're gonna be doing that in
Pep And so it's gonna be it's.

Speaker 7 (05:47):
Gonna be awesome.

Speaker 5 (05:48):
That's fantastic and still can start. So I'm gonna jump
back a little bit starting August twenty first, at the
White Fire Theater in Sherman Oaks. There is a new
production of A. R. Gurney's Love Letters, and today we're
talking to its stars, Pamela take us to the title.

Speaker 3 (06:08):
But first produced from a secret southern California location. Tony
won't tell us where he is I don't know from
the studios of ubn go.

Speaker 10 (06:19):
This is The Little House fiftieth anniversary podcast for those
who did not yet realize even you whipper watching. Okay,

(06:42):
are we ready, guys, I'm super excited.

Speaker 3 (06:45):
Let's just show us yesterday, Allison, you go.

Speaker 7 (06:47):
Well, I'm to introduce all right.

Speaker 6 (06:50):
Well now he's best known, of course to all of ours,
our fabulous Little House in the Prairie viewers as John Carter, Yes, farmer,
part time blacksmith, to vote family man. Also like way hot?

Speaker 1 (07:02):
Can we say he's way hot?

Speaker 4 (07:03):
I just want to make.

Speaker 6 (07:05):
Seriously because people are like, oh Charles, oh al Manza,
oh wait, oh John Carter? Hello, yeah, okay, brought and
real an easy going warmth of realism to the Prairies.
Closing chapters this show and uh and then you get
to introduced and she.

Speaker 5 (07:20):
Joined the Little House in the ninth season as Sarah Carter,
the wife of John. She brought quiet, intelligence and warmth
to the series as a Walnut Grove newspaper woman and
the mother of two sons, Jeb and Jason.

Speaker 3 (07:34):
Because we know all the news is going on in
Walnut Growth. All right, everybody, let's please welcome Stan Ivar
and Pamela Ryland.

Speaker 5 (07:50):
Stan, you're looking You're looking very cowboyish in the still
image that we have of you on the screen.

Speaker 8 (07:56):
Now it's a wallet, the cowboy hat.

Speaker 5 (08:01):
You're looking very You're looking very John Wayne sort of
cowboys kind of vibe.

Speaker 3 (08:07):
Very appropriate.

Speaker 8 (08:08):
And actually I was lucky once to have lunch with
John Waite. So thanks for mentioning that.

Speaker 5 (08:14):
What that's pretty cool? Oh my god, so you got yeah,
you sort of you have that sort of stubbled look
here very yeah, great shot of you. We're going to
change the shot later when we changed the discussion, but
right now you're your cowboys, Stan.

Speaker 8 (08:30):
Yes, and we're also it's the shot I used to
use when we went out and get team roping, because
you know, I was a team roper for a while
as well, so whenever we did dropics and stuff, I
would I would use that shot for the fans.

Speaker 5 (08:45):
Well, yeah, I think that would be very effective, So, Pamela. Yeah,
so where are we going now, Pamela.

Speaker 3 (08:51):
So we're going to talk about love letters second half
of the show, but and also because you're you're doing Loveless,
the Ara Gurney play of course, directed by the Little
House casting director Susan McCrae, which is incredible, and we're
going to talk all about that the second half of

(09:12):
the show. But the first half of the show, we
are going to recap an episode from Little House, a
new beginning. Dean, would you like to introduce what we're
doing today?

Speaker 5 (09:22):
Yeah, So today's episode Season nine, episode eleven, Alden's Dilemma.
Alden's Dilemma was number episode number one ninety one in
the series and premiered on December sixth, nineteen eighty two.
Written by Don Ballack, who specialized in these kinds of episodes,
and directed by the man who was our second assistant

(09:44):
director for years and directed more and more as the
series went on, Maury Dexter, So, Allison, what is this
episode all about?

Speaker 3 (09:54):
What episode?

Speaker 6 (09:55):
This is quite the episode. The subplot kind of overtakes
the actual plot lot. It gets really weird, but a
charming and secretive and frankly a little pushy. I think
new Minister a Rhymes and Walnut Groves that's a very pushy,
and Reverend Alden finds himself out of step with this
dashing newcomer. Rumors and jealousy brew throughout the town, especially

(10:19):
from mister Edwards, who suspects the new minister is wooing
married women.

Speaker 7 (10:25):
And eyeing its Baldat. I mean, because he is his
little push he is.

Speaker 6 (10:29):
Alden wrestled with the rival preacher. Back in Walnut Grove,
we go off on a subplot that completely eclipses the
whole thing. Almanzo Wilder and John Carter head to San Francisco,
really San Francisco for a Grange convention, only to get
swift into a whirl of city slickers hot theolutin hotels,

(10:50):
a Japanese bathhouse, what and transportation mishaps.

Speaker 7 (10:54):
It's a lighthearted counterpoint to.

Speaker 6 (10:56):
The main plot, with plenty of fish out of prairie
water laughs and too really hot in a hot cub
naked yeah ju yeah guy, yeah, hawk guys, Hawk guys
had a tub, no clothes.

Speaker 5 (11:04):
Hot guys in a tub.

Speaker 3 (11:06):
I mean this episode is so bananas. I mean, it
is is it not. Episode even nine is a bit bananas,
both good and bad, but definitely this one is is
like cuckoo bananas? What planet are we on right now?

Speaker 6 (11:21):
In French bedroom far it becomes a French bedroom farce. Really,
he goes off the rails.

Speaker 3 (11:28):
Okay, so I love it.

Speaker 5 (11:30):
You know, you guys are getting ready to do love letters.
It's the first time you've worked together in forty two years.
Why oh you? But you've been because coming into that,
you've been talking a lot about Little House. I'm sure,
just sort of remembering. What are the memories of Little
House for both of you? That don't go away? I'm
just so curious about.

Speaker 3 (11:49):
That don't or won't go away?

Speaker 5 (11:52):
Oh, won't don't go away? Won't go away?

Speaker 8 (11:54):
Right?

Speaker 9 (11:55):
Talk about the won'ts. But Stan, do you want to start.

Speaker 8 (11:59):
No ladings for who? Well?

Speaker 9 (12:03):
Stan, why don't we Do you mind if we just
go back and talk about the beginning auditions because that's
where we first met.

Speaker 8 (12:09):
Yah?

Speaker 9 (12:10):
Yeah, And I think I don't know it was maybe
my third certain, yeah, my third audition.

Speaker 8 (12:20):
I think when I.

Speaker 5 (12:20):
Met Stan before you actually met.

Speaker 9 (12:23):
Yeah, because I met Susan, then I met Michael, and
then I met Stan. Wow, and yeah, so.

Speaker 3 (12:29):
But and then we.

Speaker 9 (12:30):
Still had to go on and continue more when we
met Lindsay and David for the boys Jason and Jeb,
and then once they got the family paired up, then
Michael sent us because it had you off to the
NBC studio audition team, which was a really cold experience.
But the phone rang for both of us in the

(12:52):
morning from Michael saying, I got you. Don't worry, I
want you. You are cast. Don't let this intimidate you.
It's a matter of protocol, inform you have to do it.
You have to do this aldation. Stan, I'm going to
throw it over to you.

Speaker 8 (13:07):
Well actually, and part of it was that Pam and
I we had never met obviously before until these interviews,
but also we had not done anything as far as
on TV. I had done some commercials, and I had
done a few other interviews for TV shows and so on,
and I did do a screen test at one time

(13:29):
for NBC about for a cop show. And somehow in
that interview we keep working with the other actor they
had there. I made him bleed. I got a little
too rough with him, and.

Speaker 5 (13:43):
You made him bleed.

Speaker 8 (13:45):
I did. Yeah, I struck the gun Barrel Rigas ear
so too fond of me at that time. Obviously, you
can't have an actor that gets a little carried away
at times. And Pam, like I said, Pam hadn't as
she had mentioned to me, she hadn't done anything either.
So NBC wanted to see both of us do the interviews,

(14:07):
and I called up Pam and we agreed to meet
at the park. We met at the park before the
interview and we just talked a little bit and rehearsed
a little bit and relashed as much as we could.
And when we got to the to NBC across the street.
I had never done an interview like this, and I
don't think you guys have either. The seed there were

(14:29):
about eight nine of the executives from NBC and they
had put their seats in a circle and we were
to do the interview inside that little circle.

Speaker 5 (14:41):
They fully surrounded you or was it like a half
like a half circle.

Speaker 8 (14:46):
We were in a circle and we did the interview,
but it was very intimidating. I have to admit, Joel,
I can't think of as a Joe Joel.

Speaker 7 (14:57):
There's a past I clas.

Speaker 8 (15:05):
But anyway, we did the interview and uh uh and
it worked out fine. And I have to admit with
Joel Therm. After the episode the uh the first episode aired,
Joel called me at home and he called Pam and
home as well and said, I'm glad we agreed and
we do like what you're doing. So yes, Michael made

(15:26):
good choices, which was very nice of him to do that.
He didn't have to.

Speaker 5 (15:30):
No, No, I think I agree. That's cool.

Speaker 9 (15:33):
You know, we've been friends ever since. And you know,
I was just thinking stand with your story about your
audition that almost puts you out of favor with NBC.

Speaker 8 (15:42):
Uh.

Speaker 9 (15:42):
There was an episode that I don't believe you were in.
You were away from the little House. It's called Rage,
and I was home with the boys and late in
the night somebody comes to the barn and I grabbed
my rifle. So it's really good you were out of ears.
Dam are you the same experience?

Speaker 3 (16:02):
More bloody ears?

Speaker 8 (16:03):
All?

Speaker 9 (16:04):
But we've been friends all this time, you guys, we
always stay friends.

Speaker 3 (16:08):
Can I ask what kind of interview was it?

Speaker 8 (16:11):
Like?

Speaker 3 (16:11):
Were they just asking you questions? Did you guys had
to do?

Speaker 5 (16:14):
It was a reading?

Speaker 8 (16:15):
Right? It was reading?

Speaker 3 (16:16):
Okay?

Speaker 6 (16:16):
I did read for network read for network audition, which
is scaring in the round.

Speaker 11 (16:22):
Yeah, that's insane, could you What I remember about those
kinds of readings is that it was set up in
a way.

Speaker 5 (16:34):
I did one at ABC where literally you are alone
in a space with a hot light on you and
you can't see who's in the room.

Speaker 9 (16:44):
Oh, you have no.

Speaker 5 (16:46):
Idea who's there. You don't know how many of your
people you come in in the dark, you don't see anybody,
and it's like it's it's like something out of a
science fiction movie. But so you could see you could
see Joel Thurm and the others or not.

Speaker 9 (17:00):
Yes, we could because uh there there was one woman
and at one point the room was so frozen, it
was so icy, and I'm just gonna look with icy
emotionally emotionally icy. Yes, thank you Deane for that clarification.
That's exactly what it was. And I thought, I'm just
gonna look at the woman and look in her eyes
and hope I can find some female compatibility and some

(17:24):
someplace to relax, thinking, you know, women might be more
of the heart and nurturing and oh no, worst choice
of all the guys in the broke Pipe would have
gone with Joel Firm.

Speaker 5 (17:34):
You know, Oh my god, it.

Speaker 3 (17:36):
Was so strange. I wonder why they feel the need
to do that. It's like you hear about the Saturday
Night Live auditions and they all say they go in
and they do comedy for a non laughing, non responsive crowd,
and it's just like, how can you do that?

Speaker 8 (17:51):
Awful?

Speaker 9 (17:53):
I wonder what that is because I had the same thing.
I had auditioned for the Ascheland Shakespeare Festival coming down
from Portland, Oregon on my way here, and the man
I auditioned for we were in a pretty much a
full size studio. He was at one end and I
was at the other, and he had a lot of
papers on his desk and you had to do a
monologue and I mean sorry, two monologues, one contemporary one Shakespeare,

(18:17):
and through both of them he's looking down, flipping his papers,
smoking a cigarette the whole time, and it never looked
at me. Thank you.

Speaker 3 (18:28):
I've had people eat lunch during your like literally chewing
their sandwich, and.

Speaker 6 (18:35):
I had people eating pizza, and then the main cast
projector took phone calls.

Speaker 3 (18:40):
Yeah.

Speaker 6 (18:42):
Yeah, it was like apparently there was a time and
I haven't seen it so much. In later years it
got better and then, of course Michael didn't do any
of that stuff to test. But there was this psychology
that auditioning was some kind of horrible hazing, that you
were some kind of weird stress test where they tried
to make it miserable possible to see what the actor

(19:05):
would do. I couldn't believe some of the stuff I
got done to meet auditions.

Speaker 5 (19:09):
That's it. I mean, if you're looking for people to
be authentic, that's very tough to throw all that negativity
at them and then expect them to be authentic against.

Speaker 8 (19:19):
What I mean.

Speaker 5 (19:20):
That's that's that's really challenging. Pamela, you always have said
that Little House was one of your dream jobs before
you came to Hollywood. You talked about that before, but
we'd tell us about just briefly about why Little House
was one.

Speaker 9 (19:34):
Of your dream jobs, probably because I grew up reading
the books when I was in the fourth grade, and
I read every single one of the books. And it's
a lot of words, as you know, and detail, and
I loved everything about homehants, so eating everything, yeah, farmer boy, yeah,

(19:55):
and fixated on that. But I did love the books
and so Uh. When I came here, I just thought
I fit the prairie mode. I fid Walton's, I got
Walt Disney, I fit Little House. I fit that kind
of mode. It's so that was where I had it
in my mind, was for that Stan.

Speaker 5 (20:17):
I'm curious what you know? So what was your path?
Because I've known Pam's story about how she got there?
What was your path to Little House? How did that happen?

Speaker 8 (20:30):
I you know, I mean, I love the Western genre,
and obviously I had seen Michael on Bonanza and so on.
But obviously was uh. I was raised for a period,
raised for a period of time in Norway, and we
had horses there, horse there with uh. We did all
our plowing and everything on the farm there in Norway.
So I always loved horses, and obviously when it came

(20:54):
to Western I already knew how to drive a team.
I knew how to ride and actually up Tapa Canyon
there these there's a ranch way at the end those mountains,
I had team roped and gathered cattle and everything long
before I even knew that Little House was filmed further
on down the road. I didn't even know that. I
remember when I got the first call. Uh there the

(21:18):
first day and I looked at the call sheet and
I said, oh my god, it's up tap O Canyon.
That's exactly where. So I knew exactly where I was going.
But that was the thing that drew me to uh,
to little House. I loved that time period. I feel
comfortable in it. I felt comfortable in it still do.

Speaker 3 (21:36):
Uh.

Speaker 8 (21:37):
That's why I moved up here to the mountains. I
had horses all my life up here and team roped
and even produced the pro celebrity rodeos for five years
down there at the Equestrian Turner in LA with four
other actors, nice and and everything. So that was that
was the draw for me. Uh that I was. I
was comfortable in that genre. So uh, even even though

(22:01):
I was born and raised in Brooklyn before we went
to Norway.

Speaker 9 (22:05):
Wow, Oh wow Norway Okay wow.

Speaker 8 (22:08):
Love that.

Speaker 5 (22:10):
So Aldens Dilemma marked the halfway point in season nine,
episode eleven of twenty two episodes, two fun stories. Let's
start with you, Pam. What's your take on all of
the story.

Speaker 9 (22:22):
Yes, tell us loved all the dilemma one because I
got to go on location for the first time and
that was a lot of fun just to be away
from town. The couple of takeaway you just froze, Oh
I did, okay, yeah, okay, all right, thank you. Yes.

(22:44):
So I really remember one thing, Victor telling me that
I really had to beat his chest when I get
mad at him and I go after him double fisted,
and you know, you like, like Stan, you don't want
to put a in somebody's ear and make him lead.
I didn't want to put him down on the dirt
and just stabb him pass out. So and I'm pretty

(23:06):
big and strong, so but he said, no, you're not
going to hurt me, and he really made me go
for it. And when I when I look at it,
I go, oh, yeah, that really worked. And they couldn't
miscive this tough about it. Probably the worst thing that
happened was, you know, it was a rickety old fence
when you see the beginning of the show, still rickety
old house, rickity, the old fence. So by the time
I pull up in the wagon, they had taught me

(23:28):
how to drive the wagon with the two horses out front,
and I'd been learning during lunch and I felt so
confident and he yells action and I go right up
in the back wheel, I think takes out the pickets
on a little section of plastic. I lost my driving
privileges and I, oh no. They put a blind driver

(23:50):
as they call it, at the bottom of the wagon,
covered in the blanket, gave him the reins, gave me
the fake reins, which you can tell when I pull up,
you can tell I'm not doing anything with those horses instead.

Speaker 5 (24:00):
Yeah, yeah, that's funny. I didn't notice the blind driver.

Speaker 3 (24:04):
I didn't at all.

Speaker 9 (24:05):
I didn't either, And honestly, I look for it, Dean,
I really look to try to find it, and I
don't know to this day how that man could have
done it, but he did.

Speaker 5 (24:14):
Yeah, and stand in the second. Then there's a the
b story.

Speaker 8 (24:20):
In the episode.

Speaker 5 (24:22):
Almonzo and John Carter go off to San Francisco. What's
your take on all this?

Speaker 8 (24:28):
We had a great time. It's actually I think the
first time you and I worked together a lot. We
had another one with the younger brothers, the younger boys
or something, the other end older brothers we were over
at We shut it the San Francisco section over Universal.
If I remember correctly, I wasn't sure.

Speaker 5 (24:49):
If I didn't remember, it was Universal if it was paramount.
But yeah, okay, I think you're right there.

Speaker 8 (24:55):
I think it was paramount. We went to Paramount for
the city section all that. But how about the how
about the little bath we took there?

Speaker 3 (25:05):
Yeah, well, I.

Speaker 5 (25:07):
Was just I was just gonna say we riff on.
I mean, let's all talk about because we all watch
this crowded streets, quirky clerks, the Japanese hotel, boots, beds,
bath chopsticks, old lady pick pockets, creeps and jail cells
and cattle car rides. I mean, it's like there's a
lot going on here.

Speaker 3 (25:28):
Don't tease me with the good time. I know you
wouldn't want to be in San Francisco, come on.

Speaker 6 (25:35):
I just I just want to compliment both of you
on your nineteen seventies chest hair.

Speaker 3 (25:41):
Yeah, bravo.

Speaker 8 (25:45):
I just say the gentleman and his family. You know,
he played odd job on.

Speaker 5 (25:50):
The Uh oh my god, in the Bond film.

Speaker 8 (25:54):
That's exactly right.

Speaker 7 (25:55):
Yeah, Oh my god, I looked him up.

Speaker 3 (25:58):
Oh my god.

Speaker 6 (25:59):
He was in everything.

Speaker 7 (26:01):
He was a genius.

Speaker 6 (26:02):
The Japanese guy finally comes to get to the bed.
That dude was in everything. You had so many major
character actors in that scene. They were in bonanza and stuff.

Speaker 7 (26:10):
I think the woman was layer on highway to all
they were.

Speaker 9 (26:13):
They worked like Matt mm hmm.

Speaker 5 (26:16):
And which was unusual for I mean Asian actors weren't. Yeah,
there wasn't a lot of work to do. So the
few that there a few that did work probably worked
a lot. And he's one of those guys. I remember
in the bath stand and I was as I was
watching this last night, the two girls, the two girls
and their kimonos come in and they get down and

(26:37):
they take out these brushes. They're scrubbing us with this
kind of scrub brush you use on the floor.

Speaker 3 (26:44):
Yeah, like if you there was a nuclear disaster.

Speaker 5 (26:47):
That was not like a soft brush. This was a serious, stiff,
stiff brishle brush.

Speaker 8 (26:55):
No, that is quite common. I spent a lot of
time in the Far East, mostly Vietnam, but also Korea,
also Taiwan. Years ago when I graduated from the academy,
I was on ships sailing back and forth. And that's
exactly what they do when you have When you do that,
they take it out. This was it scrubs the first

(27:19):
layer of skin right off.

Speaker 5 (27:20):
Yeah, I guess so. And maybe the second and the
third too, depending.

Speaker 9 (27:24):
On how he takes you did.

Speaker 3 (27:25):
Yeah, yeah, exactly.

Speaker 8 (27:27):
Yeah.

Speaker 5 (27:27):
When I spent some time in Vietnam, I had a
massage and there was a girl hanging from the ceiling,
hanging onto bars, walking on me with her.

Speaker 8 (27:35):
Feet awaked at that place too, and they still knew
your knee. Uh.

Speaker 5 (27:46):
That was a It was a as I watched it
last night, that moment. Look, we're going to talk about
you know, Alden and the Reverend Hale and what what
la you know what Laura and Sarah did. But this
will run and of stuff that we did in San
Francisco as we traveled to and were there was really fun.

(28:07):
I think, particularly you know when we get into the
starting with the beds, to the bath, to the meal,
to the the pit pocket. It was really a fun
little run of stuff.

Speaker 8 (28:18):
Oh yeah, and that sweet little old lady that Yeah.

Speaker 3 (28:25):
Although I were.

Speaker 9 (28:28):
These guys up there, oh sorry, Pamela, the two pems, No.

Speaker 3 (28:31):
It's okay, please, Yeah.

Speaker 9 (28:34):
Was up there shooting.

Speaker 5 (28:37):
Sorry I didn't hear.

Speaker 9 (28:38):
How long were you guys shooting in Sonora or you
were in Sonora the paramount?

Speaker 5 (28:45):
I think it was just probably a couple of I
wouldn't think it would have been more than a couple
of days.

Speaker 9 (28:48):
Okay, if that maybe a day if you're doing.

Speaker 6 (28:52):
That train, the famous number three train or fabulous Ken
mc christine train.

Speaker 7 (28:57):
And I love the unshaved.

Speaker 9 (28:58):
Look in the cattle car, the and shaved look both
of you.

Speaker 3 (29:02):
Okay, so I have I have questions about the unshipped,
but first I just wanted to say, you guys, as
soon as you walk into the Japanese establishment, I was
bracing my embracing myself for how cringe this is going
to be, like like, oh no, is this going to
be offensive? What is this going to because I haven't
watched this in a long time, But it was very
authentic Japanese. I will give it to Little House.

Speaker 5 (29:24):
You built all of this.

Speaker 3 (29:26):
So authentic, even the food that the I like how
you know on Little House, whenever there's a fancy place,
there are ferns. I like how instead of ferns there
was the bonzai trees instead of the fern Very authentic.
But I kept thinking like these guys, I know this
is supposed to be a parody on how strange the
Japanese culture is and that they're the normal ones, But

(29:48):
it's actually the total opposite of Like they're the guys
that in this day and age would come to New
York and only eat at the Olive Garden.

Speaker 5 (29:58):
Oh well that's me all the way.

Speaker 3 (30:04):
Like, come on, guys, learn a new culture like Sander Horizons.
The food is delicious.

Speaker 5 (30:13):
Look, John got the chopsticks. I'm in there with my
fingers before we're done.

Speaker 8 (30:18):
Yeah, well, I'm not bad with chopsticks because, like I said,
I spent a lot of time over there, so I
faked a lot of that. I had to fumble with
the movie.

Speaker 3 (30:28):
Really, Oh that's funny.

Speaker 5 (30:30):
Well, I would think you'd be expert with chopsticks. Actually,
so yeah.

Speaker 3 (30:35):
I love when the women come in and you're so
terrified because women are there. Dean, you were, but thank you,
thank you to that one woman is hilarious, absolutely comedy.

Speaker 5 (30:45):
Gold Well, we had fun.

Speaker 8 (30:48):
One other thing we had a problem with. I have
a tattoo of an anchor on my left shoulder and
the whole scene is shut with my left shoulder, and
I said, maybe we should I told the director there,
maybe we should just have Deane sit on the outside. Now.
He said, I want to keep it away, So they
put makeup on, and then somebody said, we can still

(31:09):
see his tattoo, so we put a little more makeup on.
Like they finally covered it enough to where you couldn't
see it.

Speaker 3 (31:15):
And it wasn't scrubbed off.

Speaker 5 (31:17):
That is one of the trivia things that gets told
about this episode is that you have your your your
anchor tattoo covered. I was watching last night. I didn't
see it at all, did you guys? Did do we
see it? You don't see it at all. No, No,
it was a good cover. Whitey Snyder or whoever, whoever

(31:38):
you know, whoever did it. They they covered that. They
covered that tat.

Speaker 3 (31:43):
They covered the tat.

Speaker 8 (31:45):
Yeah.

Speaker 3 (31:45):
And also not mad about the both of you taking
your shirts off and getting into that that not mad
about it at all. Without being creepy. I'm just saying,
you're two beautiful men. It was a joy you both.

Speaker 7 (31:57):
You were really, really cute.

Speaker 3 (31:58):
You were both so handsome.

Speaker 6 (32:01):
So baby face. When you you forget how young Dean
was at that time and when he should you should
look like a little frightened cartoon character.

Speaker 8 (32:10):
It was.

Speaker 7 (32:10):
It was the girls.

Speaker 5 (32:12):
When the women came in, Yes.

Speaker 6 (32:14):
The ranking bass little dolls from like Santa Claus is
coming to town. It's like, it's like that, he's just
like I was dying, just dying was so cute.

Speaker 3 (32:25):
Dean, was it a real? Was it real stubble?

Speaker 8 (32:28):
I never thought I'd be blushing on a podcast, but
I'm the average.

Speaker 3 (32:32):
Well, leave it leave it to us, leave it to
we got to talk about the hotties on the prairie.
It's come on, No, that.

Speaker 5 (32:40):
Was that was fun stuff. And I think Staniel right,
that really was the first time that we had an
opportunity to work together. And I think for me, it
was my personal sense of it was this was good
because it was really the first time that I got
to work was someone who was really a peer, you know,

(33:03):
or Victor was a peer, but he was on a
totally different level and Michael was stratospherically beyond that. So
it was really an opportunity to be a guy with
another guy, and and that was that was one of
the good things in the dynamic of that season is

(33:25):
that we got to do that a little bit. I think,
you know, that was really a pleasure.

Speaker 9 (33:31):
And I think that was very intelligent Michael Lannon to
do that in the casting because you know, the odds
that the audience would reject us being in the house
were pretty high, even though I never thought about that.

Speaker 5 (33:45):
For years, But why would you think about it?

Speaker 9 (33:48):
Yeah, I was just having my dream come true, so
I was happy. But he knew by making Sarah and
John best friends to Laura and Elmanso, that was you know,
you're going to have to be stuck with these people,
so well.

Speaker 3 (34:01):
They had gonna have to that. And that's her takeaway.

Speaker 5 (34:06):
You had a nice dynamic. I think I felt like
there was a really nice vibe that developed right away
between you and Melissa, which was which was good and
which was really good. And obviously Allison was Alison was gone.
We had Nancy at that point. But that dynamic with
you Melissa was a nice one.

Speaker 9 (34:25):
It really was. I mean, she was the one who
on my first the first time, when Michael is directing
and we are walking away from the camera, and she's
got those stories about how she would walk up the
hill and he would quietly stay cut and she wouldn't
hear it, and everybody would laugh. She'd finally turn around
and we just took off, and when she knew he

(34:48):
probably would have said cut, she leans over and she
says all right, get ready for a long walk, and
we were. We give a walk and I was grateful
for the.

Speaker 8 (34:57):
Little bit of warning.

Speaker 9 (34:58):
It was very sweet. She was great, and she prepared
me for my first little house bed scene with.

Speaker 8 (35:06):
J and Carter.

Speaker 5 (35:07):
I'm sorry, Melissa prepared you for your first little house.

Speaker 8 (35:11):
Beds and I was that.

Speaker 9 (35:13):
I can't show for everything, but it's just enough to
tell you she took me shopping at trashy lingerie.

Speaker 5 (35:20):
I'm sorry, Melissa took you shopping at trashy lingerie.

Speaker 8 (35:27):
With you.

Speaker 6 (35:28):
I could all innocent with you, Deane, and then you
know was paying particular trashy lingerie and playing frank Stance.

Speaker 3 (35:34):
Season nine, Melissa was a grown up Melissa.

Speaker 8 (35:38):
And I like that, Like I have to put my
two cents in here, Pam, Pam one off commitedian and
I'm not going to tell you how she did it good,
But I had already one of the prop guys with
an extra pop and he did turn a SATs and
so we uh, it's on film somewhere in the archives
over there with little house.

Speaker 3 (35:58):
Yes, I'm intrigued.

Speaker 9 (36:01):
I tell you have to sign off.

Speaker 3 (36:04):
So there was more than just popcorn happening during the
bedroom and ice.

Speaker 5 (36:10):
Sure, but I think that's really nice for the tube.

Speaker 8 (36:16):
Well that all you folks, the cast that was already
there when Pam and I and the boys came on.
None of you never felt anything. It was all warmth.
None of you guys, No one ever made you feel uncomfortable,
Pam and I or or the two boys. It was
all all acceptance, which was really I really commend all

(36:38):
of you on that, and thank you all because you
made it a lot easier for us, uh with that attitude,
which was really nice. Thank you.

Speaker 5 (36:46):
Well, that was the I mean, look, that was that
was the nature of the company. I think it was.
Alison would agree, but I think it was always like
that people who came that. When I came.

Speaker 6 (36:55):
In, I tell you what welcome wagon.

Speaker 9 (36:59):
But I didn't think anything of it.

Speaker 6 (37:00):
I was like, because that is what you were supposed
to do here. This is how I do think. So
of course I wouldn't.

Speaker 5 (37:06):
You're rooting for your colleagues to succeed, you know, I mean,
everyone wants everybody to succeed. There's no there's no rooting
for failure here at all. Some other people outside the
company may be rooting for failure, but inside the company.
It's all rooting for success.

Speaker 8 (37:26):
Do you go up? Catherine McGregor said to me the
first what.

Speaker 5 (37:32):
Did that?

Speaker 8 (37:33):
Was on the sound stage and I was in my
dressing room getting ready to work and it was a
little knock on the door and I didn't even open it.
She opened it and she looked and she just looked
at me and said, so you're the new stud in town,
and then she closed the door. Was she was She

(37:54):
was great, she was one.

Speaker 5 (37:55):
Oh my god, she was amazing.

Speaker 8 (37:58):
It was very funny.

Speaker 5 (37:59):
Yeah, it was amazing, you know, the the dynamics that
the the So let's talk about Victor for a minute
and the work that he was. I mean, Victor was
working his ass off in this in the show, really
like doing all the things that Victor does to you know,
that sort of that goof It was best goofy, bumbling

(38:22):
mister Edwards. He was in full comedy mode and he
did that stuff so so well, really it's.

Speaker 4 (38:29):
Just incredible he did.

Speaker 9 (38:30):
And I think you put him against Dab's Greer reven Alden,
who was that studying on I'm not gonna believe. I'm
going to weigh what you're telling me. So it really
made his almost buffoony stuff go way over the top. Yeah,
and even when Dabs or Reverend Alden buys into it,
it's a pretty gentle buy in. But yeah, mister.

Speaker 7 (38:54):
Edwards had a point. This guy was a little pushy.

Speaker 6 (38:57):
I mean five seconds you need, I can get you hymnose,
I have him old.

Speaker 7 (39:02):
Oh no, I brought my ownness.

Speaker 3 (39:04):
I'm fixing up the house. You just met me, but
I'm fixing up this whole house here.

Speaker 8 (39:08):
You don't know me.

Speaker 3 (39:09):
And oh yes, I talked to the diocese.

Speaker 7 (39:11):
Oh did you get and who are you?

Speaker 3 (39:14):
Who are you?

Speaker 6 (39:14):
No that he is flirting with the women, and I'm sorry.
There was a scene Shannon Doherty and I don't know
how old she was. She literally licked her lips while
the man was speaking at the ball. But hen Doherty
well like, well, I don't remember that.

Speaker 5 (39:26):
Scene that towards you when the end, when he's finally
going to get the house and all the girls.

Speaker 8 (39:35):
Are gone like this and Shan Dirty.

Speaker 3 (39:37):
Well from the very beginning, it's hotty hail from the
very beginning. And it's as if these women have never
I mean, they're hello, you guys are married to beautiful
men It's as if they've never seen a beautiful man
before in their lives. It's crazy. Even missus Olsen is like, whoa,

(39:58):
he's a hotty. Even when he first meets him, is like, whoa,
he's a hottie. Right, it doesn't make sense.

Speaker 5 (40:05):
And Nels saying let's go home, dear.

Speaker 3 (40:07):
Let's go home.

Speaker 6 (40:09):
And I will say I think something to those women,
I don't what.

Speaker 8 (40:13):
Is the deal.

Speaker 3 (40:14):
No, they're thirsty on the prairie, very thirsty. But I
will say I also think that hottie Hale was a
bit creepy, especially the part where he's in the church
and he puts both hands on the podium and he says,
how good, yes on the pulpit, how good it felt
to stand to before the congregation? How very good indeed?

(40:37):
And I was like, ugh, ick factor, something is very
wrong with this man. Is no one picking up the vibes,
because there are vibes right now, you guys ancient.

Speaker 7 (40:49):
But Laura is alone with this guy.

Speaker 9 (40:51):
Yeah she's a reverend, but she's just met him.

Speaker 7 (40:53):
I mean, Jennifer, they haven't phoned and checked it out.
We don't know is he really the murpher dies?

Speaker 3 (40:57):
You?

Speaker 7 (40:57):
No, I do this guy there's no background check.

Speaker 6 (41:00):
We had Johnny Cash pretend to be a reverend. We
don't know who this guy is. And then he's like, oh,
let me just read you some poe and dry.

Speaker 5 (41:07):
Yeah.

Speaker 6 (41:09):
I would have gone down in eighteen hundreds. I think
somebody would have said this is not appropriate really for the.

Speaker 3 (41:14):
Rest and Edwards is the only one that picked up
the creep vibes.

Speaker 5 (41:17):
Of course, Well he's listening with his ear pressed to
the window. I mean he's so yeah, seeing but not hearing,
but not seeing the words. And then of course then
the what then Sarah talks about what a handsome man
you are telling me he's the handsome mean talk about
throwing gasoline on the fire of mister Edward's doubts.

Speaker 9 (41:40):
And don't I say, right off the bag, are you married?

Speaker 8 (41:44):
Yes?

Speaker 9 (41:44):
Yes, yes, you asked me.

Speaker 5 (41:53):
It was a little it was it was sort of
you know, alson did you say in the beginning it's
sort of a French farce?

Speaker 6 (41:58):
I mean that that's sort of what were French bedroom farce?
Because then went to established, no, he really is not
sleeping with the women are steel here, but mister Edwards
thinks he is. And so then he's doing the old
listen bedroom door, oh no, and interrupting, and.

Speaker 7 (42:12):
It's it's you know, Natalie needs a nighty. It's you know,
it's French dron far.

Speaker 6 (42:17):
Oh no, and it's it's hysterical, but it's it's it's
like French bedroom first time because he thinks.

Speaker 7 (42:25):
Everyone's sleeping with everybody, and it's yeah.

Speaker 9 (42:28):
Well, I know a lot about it, but I suppose
Don Bellick and Michael Lennon were sitting in the office going, oh.

Speaker 3 (42:33):
What's with this?

Speaker 9 (42:34):
In Yeah, I think.

Speaker 5 (42:37):
Don Don wrote a lot of this kind of comedy,
and I think he was really good at it. And uh,
you know, I'd like to think that we for the well,
Victor is so spectacular whatever he's doing. But I'm I
feel like we, you know, we hung in there with
the material.

Speaker 9 (42:56):
And uh beautiful.

Speaker 5 (42:58):
And went with it and then so it all, you know,
it all ends up well with medium medium rare at
the at the end with the cattle, I mean vegans,
you know, vegans everywhere would be a little upset.

Speaker 3 (43:12):
No, very devastating, devastating. I will say one more, one
more creep vibe about Hotti Hale is that he certainly
does the classic let's just drop in conversation that I
went to Harvard. He doesn't have a couple of times.

Speaker 5 (43:31):
I'm like, we we could talk about we could keep
talking about all in this dilemma, but I think we
should take a quick break and we can talk about
what Stan and Pam are doing now.

Speaker 3 (43:42):
So exciting. All right, everyone, We'll be right back. Hotti Hale. Nope,
that's a no.

Speaker 6 (43:52):
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(44:14):
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Speaker 9 (44:16):
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Speaker 6 (44:18):
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Speaker 3 (44:41):
Hi, We're back everybody. We're going to talk about a
love letters. But before that, I just have one question.
The beard on the cattle train coming home real fake?

Speaker 5 (44:51):
Oh no stipple?

Speaker 8 (44:52):
Oh yeah, yeah yeah.

Speaker 5 (44:55):
If I touched it, it would have smeared all over
my face.

Speaker 3 (44:58):
It was very They did a very good job with
that one.

Speaker 5 (45:01):
Yeah yeah. I mean, and Stan was Stan and you
were all stippled up too. I mean, imagine walking, you know,
five five days with a bag of apples to get home.
I mean, you gotta be kidding me, right, I'm remarked.

Speaker 6 (45:15):
When I was watching, I went, they're eating nothing but
apples for several days.

Speaker 7 (45:18):
They're going to be in the outhouse for the next
three days. And it's not going to go well, you're
eating nothing else.

Speaker 5 (45:24):
It's just going to be on the side of the
road somewhere.

Speaker 7 (45:27):
They're having a cleanse.

Speaker 3 (45:29):
It's gonna be definite cleans Yeah.

Speaker 8 (45:33):
You know what, after forty two years, I think it's
time that John Carter puts the blame where it should be.
It's because Almonzo lost his money.

Speaker 5 (45:43):
Yes, yeah, no, totally, It's I own all of that. Stan,
it was, but it's the old lady and we should
have beaten her senseless.

Speaker 3 (45:54):
And we get exactly that's what you.

Speaker 8 (45:57):
She just took you. He took her down Tramrose Pass
really and pleased you just like you. She she knew
what she was doing, She sure did.

Speaker 6 (46:07):
She's to have another characterize to work like that. She
was also never ever post episode Wave of the Future.

Speaker 7 (46:13):
She was in everywhere else. She's in freaking everything, that lady.

Speaker 3 (46:16):
Yeah, She's in everything.

Speaker 5 (46:18):
Alden's dilemma was misdirection and fish out of water, prairie
water out of out, Yes, fish, prairie fish out of water. Yeah.
Fish on August, let's Pamela, let's take us into love letters.

Speaker 3 (46:31):
Okay, here we go today when this episode drops, which
would be August twenty first, you are opening tonight together
in love letters. And for those who don't know what
love letters, it is a very classic, famous a Ar
Gurney play. Why don't you tell us what it's about?

Speaker 9 (46:50):
You guys, go ahead and stand.

Speaker 8 (46:54):
Okay. It's about two people that have known each other
since they were in the second grade, and when she
walked into that classroom its second grade. He fell in
love with her in the second grade, and they kept
in touch and they saw each other all through school

(47:16):
and everything all through their life, and they wrote letters.
He loved to write letters, she didn't. But that's how
they communicated in those days. They wrote letters back and forth.
They were two different people and they remained friends for
all their lives. She was a little more flamboyant, free,

(47:38):
artistic all of that. She became an artist, and he
was more staunch in his ways. He became an attorney,
a lawyer, and then he also became a senator. The
two of them, the two of them communicated, and they
communicated more than they women of adults. Good bam.

Speaker 9 (48:02):
And the framework of it is that it is the
two actors reading these letters. So we are moving around.
There isn't a big set. It's very simple. The magic
is in the words and the delivery and interpretation of
the words, and it just works over all these years

(48:23):
of time that it spans, and you get to know
the two of them very well, and it's words and experiences.
It's words we've said, it's experiences we've all had. It's
that universal, almost Shakespearean themed thing where oh yes, we've
all been there, we've all had that heartache or that excitement,
and so it's very easy to relate to it's easy

(48:47):
to take into your own experience. So I think that's
the magic of it is that it is sort of
eternal and his words are just beautiful to get into.
The more we rehearse it, the more we find yeah
and yeah. I think that's that's basically kind of the

(49:08):
outline of the whole thing, without giving anything away.

Speaker 5 (49:11):
So how did the two of you come into this?
We know that it's being directed by our former casting
director and all of our friends, Susan McCrae. So how
did this how did this come about?

Speaker 8 (49:25):
Well? She called, she called, she called me, and she
called Pam, but she called me and she said, how
would you like to What do you think about doing
Love Letters with Pam? And I had never read the
play before, even though I'd worked on stage before I
started on TV there, but I had never read the play.

(49:47):
And I said, you know, Susan, I trust you if
you think uh, I said, I'll say yes right now,
and I'll get a copy of the of the play
and read it. And once I read it, yeah, it
was a fit. I mean for Pam and I. We've
stayed friends, like I've said, over all these years, so
it wasn't anything that we had to research or try

(50:11):
and fabricate. As far as any of the relationship between
us that was already there.

Speaker 9 (50:17):
It was and I think that was the beauty of
when she asked us to do it. She's the one
who introduced us in the first place, and she's also
facilitated our being together over the years because we've gone
to her home for parties and things like that. So,
you know, and stand traveled with Susan and kent back
to Connecticut a number of time because they were on

(50:40):
the there were regions at the University of Hartford and
they would travel. They had built a beautiful relationship. She
had asked me to do a few things now and then,
so we just were a little unit anyway, even though
it sometimes would be months, and it is that way
in these letters. It's sometimes months before these two characters

(51:04):
will exchange a letter with each other. And seeing thing
with us, our friendship has just wandered through the years
and it's always stayed strong and steady, pick up where
you left off kind of thing. So it was an easy,
fir table read. It was like, wow, this is obviously great.
So in whatever magic she saw when we were unknown people,

(51:26):
auditioning in her office. She just knew it was going
to work.

Speaker 5 (51:29):
So have we seen I mean, I know I've seen
at least a couple of performance, you know, different versions
of this over the years. Pamela, how about you, Allison,
you've seen the show. We've all seen this show.

Speaker 7 (51:46):
Everyone has done it. It's incredible.

Speaker 9 (51:47):
Yes, yes, and I hadn't. I hadn't seen anyone do it, Okay.

Speaker 8 (51:52):
And I had not either.

Speaker 5 (51:53):
Oh wow, interesting, Pamela, how about you?

Speaker 3 (51:56):
I've never seen it. But it's one of those shows
that pops up over and over and over and in
and in New York. There will there will always, at
some point every few years be Love Letters starring blah
blah blah blah blah. And sometimes there's a rotating cast
of people that come in and out of it. But
it's it's always My whole life pretty much has been
a show that is always there.

Speaker 5 (52:18):
Yes, well, it's you know, it's so interesting how you
know you put it. They put actors together of different ages,
of different experiences. The writing is so wonderful that people,
if they can be present to it, it can be
really good. I would imagine for the two of you,
your history just makes this even sweeter, you know, going

(52:38):
back all these years together.

Speaker 9 (52:40):
I believe, so just a built in chemistry that I
know the audience will feel.

Speaker 8 (52:46):
Yeah, well, I totally a great I mean when when
when Susan mentioned, uh, you know, with Pam doing it
with Pam, it wasn't even a question of saying no,
I said to question pout it.

Speaker 9 (53:00):
I had a big run.

Speaker 5 (53:01):
Oh of course. So you're playing at the White Fire
Theater in Sherman Oaks. How do our listeners get tickets?

Speaker 3 (53:10):
And it's from August twenty first to August thirty first,
Is that correct? It is?

Speaker 9 (53:15):
It is? There is one Saturday night, The first Saturday
night of that two weekend run is dark for us,
someone else had rented the theater otherwise, and almost two
Sundays we have matinees and then a show at eight.
The website in which I think maybe you could project
that right is yes, I do believe. Www dot Whitefiretheater

(53:38):
dot com. And you just sip through the plays that
are offered there and click on love letters and it'll
take your right to the ticket bne website.

Speaker 5 (53:47):
What's I've never been in the Whitefire Theater. I mean,
this is a Waiverhouse, right, So what's the space.

Speaker 9 (53:53):
Like eighty four seats and yeah, it's a black box
style with a faked audience, so the audience just right
there at stage level and then works their way up
to the back. Perfect.

Speaker 7 (54:08):
I've seen a bunch of stuff there yet, no bad seats.

Speaker 6 (54:11):
And there's a cute little coffee place with muffins and things.

Speaker 9 (54:15):
Like right there. Yeah, yeah, there's definitely.

Speaker 6 (54:20):
And it's on Venturabio. It's like a street of restaurants.
There's like seven fabulous restaurants all up and down the street.
So you can totally do the show. It's that kind
of thing.

Speaker 9 (54:30):
Yeah, exactly. And can I tell you a little sweet
memory I have of that theater. Actually, there was a
bad memory I had where we were going to do
a show there and it just wasn't I was working
with this incredibly great guy and the person who was

(54:50):
putting it on was just incredibly difficult, and both of
us honestly had to tune into our hearts and walk
away from it. And I've never done that. It was
early on in rehearsals and it was it was just detrimental,
so we walked away from it. But I had a
nice memory where I shot a movie called The Creatress

(55:15):
with friend dresser.

Speaker 3 (55:19):
Yeah, it's my favorite.

Speaker 9 (55:21):
It was not a big, big one, but I played
this talk show host and I'm interviewing Yeah. Yeah, it
was really perfect. It was so much fun. And I'm
interviewing four people on the stage and the whole audience
is extras, who are the studio audience of the show.

(55:42):
So I have that piece of footage and it's really
nice to be able to have that memory of the
Whitefire Theater for that. And Peter Bogdanovich was Peter bug
don it was. He was in it, Yeah, he was.
He was the main name that I knew in in
the whole cast. So yeah, and it was great because

(56:03):
I had an opportunity to stand backstage with him and
then enter the studio together and introduce him, and then
we sit down and we do the show and he's
he's on my right and he's part of he's the
negative part. He sees the adversary in the discussion.

Speaker 5 (56:21):
But so he's not and he's not doing like a cameo.
He's not Peter Barganovich. He's playing a character.

Speaker 9 (56:27):
It's a full on character and beautifully played of course really,
and I really he was a very sweet guy. So
that's a really super memory for me. There and now
Stan and I will make a new one.

Speaker 3 (56:40):
I know that.

Speaker 8 (56:41):
The other thing and this is going to be real difficult.
They said, you know, you and pam are going to
have to share a dressing room. So I'm gonna wear
I'm gonna wear my my my little house long Johns.

Speaker 5 (56:59):
You're gonna be there with your trashy lingerie on.

Speaker 3 (57:04):
She's going to be there with ever whatever prop that
was made for them.

Speaker 5 (57:11):
Well, we're we're all going to be there tonight and
we're going to be taking pictures.

Speaker 9 (57:16):
Yeah, and thank you for the support.

Speaker 3 (57:21):
Thank you so much.

Speaker 9 (57:22):
We're really excited to do it.

Speaker 3 (57:23):
Exciting. Yeah, yeah, absolutely, it's so lovely to virtually meet you.

Speaker 5 (57:30):
Really well, I think listen, break a leg tonight. Alison
and I will be there. I know Pamela you would
love to be there because you love all things theater.
But well, Alison, I will be there and probably a
whole host of low House family will be present.

Speaker 8 (57:46):
For this tonight. They will, so we really, uh.

Speaker 5 (57:50):
We're excited to support you in this. It's really cool.

Speaker 8 (57:53):
Thank you, Thank you guys.

Speaker 3 (57:55):
Yeah, yeah, and thank you for joining us on the
podcast for recapping this very special episode the French Japanese
Far and uh yeah. So if people want to buy
tickets to Love Letters, go to the White Fire Theater website.

(58:17):
You can buy tickets there and I'll also have it
linked in the show notes so people can have it
and just scroll down, guys, and you'll get the link
there and you can get the tickets. And you know that.
That's a wrap for today. Thank you guys so much.
Please join us on our socials, Little House fifty podcast
or our website Little House fifty podcast dot com and

(58:38):
we will be back next time. Yay, everybody, Let's do it. Bob,
go get the wig. Let's fly.

Speaker 5 (58:51):
He stands flying in picture.

Speaker 3 (58:53):
He's doing it is he really is

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