Arizona - Arizona Theatre Company, Southwest Shakes, and Arizonian Writers! - Play to Z

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey, everybody, welcome to play to Ze.

Speaker 2 (00:02):
Please rise for this season's introduction song, fight through It.

Speaker 3 (00:15):
Connecticut, Good job.

Speaker 1 (00:29):
Hell, Hello, everybody, welcome back to play Z. I'm your
co host Justin Borak, and.

Speaker 3 (00:32):
I'm your co host Erica.

Speaker 1 (00:34):
That's our first time hearing the theme song outside of
like the days of recording it.

Speaker 3 (00:38):
I like it so much. Actually, I forgot how much I.

Speaker 1 (00:40):
Liked I know. It makes me laugh. I think my
favorite part is the end of it, when you're when
you say good job and I thank you, like really earnestly.
Like it's it's like a false ending. I like it
a lot. It makes me laugh.

Speaker 3 (00:53):
It's really good.

Speaker 1 (00:54):
That's so good.

Speaker 3 (00:56):
You'll be a Harmonica bro.

Speaker 1 (00:59):
I never will be crazy about that thing. Three years
ago because I saw a girl from the North Country
and I was like, I gotta get that.

Speaker 3 (01:06):
Holding up and going a year from now, I'm going
to like master.

Speaker 1 (01:09):
I'm going to master. I can't. I can't play it.
I have no idea. I keep it with me at
all times.

Speaker 3 (01:14):
You keep it with you at all times. You've only
played it for the plate of the intro.

Speaker 1 (01:16):
Literally, that's my claim the fame from Harmonica.

Speaker 3 (01:19):
That's so funny.

Speaker 1 (01:20):
Yeah, what's up nothing much? What's up with you? Oh?

Speaker 3 (01:24):
You know nothing much?

Speaker 1 (01:25):
You know what's fun? Yeah. We live in New York now, right,
and we get to talk. We get to have this
banter time to talk about like plays that we've seen.

Speaker 3 (01:33):
We've literally already seen one of the top five best
plays I've ever seen in my life. And we're gonna
go see a play after we record this recording early
so that I can make it too rush line.

Speaker 1 (01:42):
Oh wait, yeah, let's talk about That's something that I
kind of want to talk about. We didn't really talk
about it too much. You rushed your first show? Yeah,
you've never rushed the show before. No, I've always just
bought a ticket. That's crazy. You're you miss money bags
over here, it's said, I am, I have anxiety. That's fair.

Speaker 3 (02:01):
So I'm like, would have to have a plan.

Speaker 1 (02:03):
So I've rushed my whole life, like even like when
I was sixteen, I wasn't a theater Fanah. Fun fact
the way all of us kids got if my parents
are ever like man, I wish my kids were just
business people. They my parents messed up because for all
of our sixteenth birthdays, they brought us to New York
City and the big thing we got was all of
us got to pick a show to see on Broadway.

(02:25):
I wasn't really even I did theater as a kid,
and then I kind of stopped doing theater. And then
for my sixteenth birthday, I went to New York and
like my older sister, shot up page the lighting designer,
brilliant lighting designer out in Vegas getting her MFA right now,
She's a god and I love her, but she made
it her goal to get me back into theater on
that trip. So I kind of let her pick the
show we saw, and we saw two we saw. We

(02:49):
saw The West Side Story Revival that had the Spanish
lyrics written rewritten by Limb and Will Miranda. Yeah, which
is awesome. But then do you do you remember this
is a good best friend test. I don't think you'll
know this. What was my first concert?

Speaker 3 (03:04):
Hang on, because I think I do know this.

Speaker 1 (03:06):
We have talked about it, but it's not.

Speaker 3 (03:09):
Green Day.

Speaker 1 (03:09):
Yeah, that was it.

Speaker 3 (03:10):
It's Green Day, so I knew it would.

Speaker 1 (03:11):
Come to me. Yeah, So my first concert ever was
Green Day and when the show dude, when it was
Kiss Met When on my sixteenth birthday, were in New York.
American Idiot has been on Broadway for like six months,
and whoever was playing the bad guy in it had
just left, and in between getting the new guy to
play it, Billy Joe Armstrong was playing the role the

(03:33):
lead singer for American Idiots, and because he was doing it,
the Trey Coole and the other guy, the two guys
in American Idiot joined the pit for the show wow
and at the end of every show when they would
do bows, the two of them would come out. When
Billy Jorms started was doing about they were like jump
on each other and get all pumped up, and.

Speaker 3 (03:50):
You're like, I'm locked in.

Speaker 1 (03:51):
I will never be a businessman, dude. So we went
and the whole plan was we were going to see
these two shows in New York and then go to
like random tourist New York shit right, yeah, and we
me and my sister end up we rush the Nance,
a random play with Nathan Lane about about queer drag
queens like like uh and the drag world of New

(04:13):
York when it was kind of in bad time, like
the time of like aids and stuff like that. We
rushed that show and then we rush how to succeed
in business without really trying with Daniel Radleft. Yeah, dude,
I like I My dad was so pissed because by
the end, by the oh and we saw, we saw,
we saw five shows in like six days. Yeah, he
was so mad because we were gonna see two shows.

(04:35):
My mom wanted to see West Side Story because it
was like just the name of the show. And then
Paige was like, I'm gonna get in the see American Idiot,
and he'll get hooked on theater again. I went home.
I quit football like a year and a half later.
I started doing theater constantly. I got nominated for a
Jimmy Like, I went all in.

Speaker 3 (04:51):
You know how people are like nine to eleven made
my chemical romance exists?

Speaker 1 (04:55):
Oh yeah, yeah, so Green Day made.

Speaker 3 (04:57):
Community Garden exist.

Speaker 1 (05:00):
Oh that was kind of true.

Speaker 3 (05:02):
That's crazy around.

Speaker 1 (05:04):
You know.

Speaker 3 (05:04):
My first Broadway experiences were I.

Speaker 1 (05:07):
Mean, I think I know, but I want you to
tell the story. Is it the trip during college?

Speaker 3 (05:10):
No, it was I did a trip in high school.
I saved my box tops and I went on this
big high school theater trip.

Speaker 1 (05:18):
I know this.

Speaker 3 (05:19):
I don't know if you do. It's part of the
lore though, We drove on a bus for two days
Iowa to a Broadway baby.

Speaker 1 (05:27):
Oh my god.

Speaker 3 (05:28):
Huh. We stopped to sleep I think in Ohio and
we were so close at one point, huh. And me
and my friends were like, we're gonna be cool, We're
gonna be edgy. We're seniors. We're gonna sit at the
back of the bus really post up.

Speaker 1 (05:38):
Nice.

Speaker 3 (05:39):
Guess what else was back there? What the bathroom? Yes,
and it was like a nice bus, not trying to
knock it. We all put in that money. Yeah, but
it had that blue goo. Do you know what I'm
talking about? Oh?

Speaker 1 (05:49):
That sucks?

Speaker 3 (05:50):
And you know what am I really weird about?

Speaker 1 (05:52):
Like like smells?

Speaker 3 (05:54):
Yeah, so I was just smelling that blue goo. I
also had like a really bad cold, and then I
super spread. This was pre pandemic obviously, so I super
spread this cold. And then by the end I was
only person who was healthy and everyone else was sick.
And we saw Lion King and we saw newsies and
then who we did I don't even I don't I
can't remember exactly what it was, but we did some

(06:16):
sort of event where the newsies like choreographer or maybe
someone who had once been in the show like got
some money out of my high school. I was like,
I'm gonna teach you guys like a dance. But my
high school was like, you guys need to make a
really good impression. Everyone, please wear your nicest clothes. Is
the dance thing y wearing like it's this would have

(06:37):
been how old was I This is like two than
like twelve or.

Speaker 1 (06:41):
Something like that. I have the choreographer thoughts like high
school thirst. They were like, these people are their Sunday best.

Speaker 3 (06:47):
Yeah I'm wearing I'm wearing like probably like skinny corduroy jeans.

Speaker 1 (06:51):
Right, the worst thing you can do.

Speaker 3 (06:52):
It thick knit sweater because it's me. My best is
still like cozy Guy Fieri core. Yeah, like a like
a really stinky ballet flat. The first time they came around, okay,
like and I still remember moments of the dance because
I think something delusional on all of us Iowa High
School theater students was like this is when I'm gonna
get discovered. This is this is why my trousers to

(07:14):
a dance class this break and I still remember we
had to do this little I'm gonna show you sorry
it's a podcast, just imagine that you're seeing something incredible happen.

Speaker 1 (07:23):
We do this for a video.

Speaker 3 (07:23):
There was this little, this little cheeky little ham flick
and you'd go, you cock your hip out like teapot style,
and it's kind of like a kindly gon Italian like that.
And I'm one high falute and sad of a gun,
and you would do like the whole Newsies thing.

Speaker 1 (07:38):
And we did you do it on the Broadway stage.

Speaker 3 (07:40):
No, it was in some room and the piano player
hated us. I've never felt more disdain.

Speaker 1 (07:46):
I could only imagine that all the actual theater people
in the room when you guys walked in in your
Sunday best.

Speaker 3 (07:50):
Were like, and imagine that smell the water looa Sunday Best.
Oh that's rough, just dancing, dancing, dancing for joy. And
here's the thing, our like theater department rocked, I ask you.

Speaker 1 (08:00):
So.

Speaker 3 (08:00):
It was really fun and sweaty, and we gave it
are all now that we live in New York. Actually
a bunch of people from that that class ended up
pursuing theater and living in New York really, which I
think is a testament to how good that program. Most
that is cool anyway, what were you saying?

Speaker 1 (08:11):
I was gonna say, I love putting you on the
spot and getting you into trouble. If you had to
pick a show, yeah, if you had to marry kill,
I'm going to take out the f because it is
only two.

Speaker 3 (08:24):
If I just to eagle call Mary kill, you.

Speaker 1 (08:27):
Will call Mary. Well, no, we'll do Mary Kill because
it's only too in America. News's and Lion King? Which
what will you marry? What would you kill?

Speaker 3 (08:33):
That's messed up?

Speaker 1 (08:34):
I know, I don't care. Do you remember them well enough?
I've never seen lying.

Speaker 3 (08:40):
I mean, I hope this isn't a horrible take, but
like they both do one thing, so it's not like
hard to remember because.

Speaker 1 (08:46):
Yeah, but they do them so differently.

Speaker 3 (08:48):
I feel like, do you know, Yeah, it's two different things,
but they're like the reason those two things are bops
is because.

Speaker 1 (08:53):
Like Disney Theatrical.

Speaker 3 (08:54):
Yeah, yeah, like it's twenty years from now, you asked Mood.
I remembered about Hills of California, which we just saw.
I'd remember like very specific moments from the play, but
not the whole thing. It's the opposite for Newses and
Lion King, I remember the specific whole thing but no
specific moments. Does that make sense?

Speaker 1 (09:09):
Yeah, it does.

Speaker 3 (09:10):
I don't know. I guess. I guess i'd marry Lion King.

Speaker 1 (09:14):
Really, here's something.

Speaker 3 (09:17):
I'm not a musical guy. This is kind of like, Okay,
you're stuck on a desert island and you get a
dictionary or a phone book. It's like, I'm gonna pick
the dictionary.

Speaker 1 (09:27):
Yeah, because yeah, there's a little more going on.

Speaker 3 (09:30):
It's like a little bit more to tease my brain.
I don't know, I like. But but they were both
bangers and that was like my first experience of Broadway,
and then my second trip in college actually won so
I didn't have to rush because I didn't pay for
those to take out.

Speaker 1 (09:41):
It's very interesting.

Speaker 3 (09:42):
It was really fun, except for I got horrendous food
poisoning and I missed the humans after one of the.

Speaker 1 (09:50):
Shouts. Dude, oh wait, but no, okay, this is all missconnection.

Speaker 3 (09:55):
Isn't it that so weird? I know, I wouldn't think
about that.

Speaker 1 (09:57):
You had a couple of you.

Speaker 3 (09:58):
I grew up down a flight of stairs set of
Lincoln Center.

Speaker 1 (10:00):
You did.

Speaker 3 (10:01):
I made it out of La Bom at the met
and I was in the front row of the fourth balcony,
which if I had been nine minutes earlier, I would
have caused like an international scandal if I'd thrown up
off that falconyn you have fathom that. And I knew
in that show, and I was like, something bad is happening.

Speaker 1 (10:20):
It was so scary. Yoh okay, yeah, you know another
craziness connection. Speaking of American Idiot, going back five minutes.
You know, Claudia. I don't know why I said. You know, Claudia,
we studied together for three years years. I remember we
both love American Idiot, I know, and I have videos
on my phone singing. So that night when we were
in your apartment singing that we we both realized that

(10:42):
we went to American Idiot within a week of each other. Whoa,
We literally went to American Idiot within one week of
each other. This isn't that crazy.

Speaker 3 (10:51):
Also, I don't want to banter too long because I
just will with you, like forever. We saw the Hills
of California, but Jess Butterworth and one of the top
five shows I have ever seen.

Speaker 1 (11:00):
It was amazing.

Speaker 3 (11:00):
If you're able to get out here and see this
cast that they brought over, I think it's open. You
got to do it. It's limited, it's twelve weeks only,
and this.

Speaker 1 (11:06):
Is coming out in a loss. This is coming up
because all of these actors are abroad and we're recording
this so far in advance. Oh no, we are well.
I mean like this episode will come out for like
two months. Guys, by the now, you're like a couple
of weeks year.

Speaker 3 (11:19):
We'll be sold out by the time they listened because
it's so good. Can I say something, if you look
this up right now when you're listening to this and
there's tickets available, fail them. We failed kids.

Speaker 1 (11:29):
We're doing marketing for them two months.

Speaker 3 (11:31):
And a marketing failure.

Speaker 1 (11:32):
Just we failed as a community, as a theater community.
It's a great play.

Speaker 3 (11:37):
It's very good.

Speaker 1 (11:38):
It's so good. The set's awesome, the story is wonderful.
It's it's three hour. Here's the thing you get. We
both got nervous because it's hour three hours and it's
an intermission and then a two minute soft break between
act two and Act three. I thought it it flew by.
It was it really really.

Speaker 3 (11:57):
First forty minutes my ears had to acclimate to like
very cool dialect and a lot of information told well,
and fast. Yeah, so iconic.

Speaker 1 (12:05):
Jezz butter Earth is so good.

Speaker 3 (12:07):
If you again, like like all things, but it's true,
like if you could see this production on Broadway with
all of these resources and all of this talent and
the music, Oh my gosh, it's just it was something
that we were like, maybe we see this, Maybe we
see that. I'm so glad that we saw it.

Speaker 1 (12:21):
It makes me think about Leopold stal Too, which opened
was on Broadway like a year or two ago. It's
such a big cast and it's such a massive epic play. Yeah,
it makes me think, like I don't know how regional
theaters are gonna do it, but I am excited to
see that, like fun fact of the day. I can
say this because it's actually it's out. It's all public.
Leopold stal is a dramatist title, Okay, Like that's where
I work, and like people are starting to like look

(12:42):
at the rights to and like get the rights and
like community theaters and like regional theaters, and I'm like, oh,
I'm really excited to see how people are going to
take this massive, huge, like thirty person cast that was
huge on Broadway play and like fit it into it
a gymnasium.

Speaker 3 (12:56):
I also want to point out because we haven't Oh god,
I can't do a deep dive in the band. This
is crazy. I am feeling so restricted right now. But
a lot of our listeners do skew younger. This play
is like if august Osage County got merged with dairy
girls with like a dash of Alice birch.

Speaker 1 (13:14):
That's great, dude, Yes, that was very good.

Speaker 3 (13:16):
Thank you.

Speaker 1 (13:16):
All three of those hit me slowly, but they got
that's one percent way to put it.

Speaker 3 (13:20):
So Like literally, as I was watching, I was like
casting my cohort members because I still do that in
anytime I see a play with more than four people
in it, I'm like, oh, wh would this person play? Yeah,
but if you were a young person, specifically if you
are a young female identifying actor, probably between the ages
of like thirteen and nineteen, there's probably four roles in
this play for you, especially if you're a singer in
a little bit of a dancer. Yeah, it's a bit

(13:40):
of an expensive script, and so it's probably one that
you're not gonnaly get your hands on unless you think
there's roles for you. But Jazz is specifically so good
at monologues. So as soon as you are able to
get your hands on the script, or you want to
or you want to work on dialect, or you want
to work on intense, amazing scene work in a class
that's two adult women, two young children, multiple young children,
multiple adult men, go grab this script please, And.

Speaker 1 (14:02):
I will also say shout out Liz. When we were
doing a little game at the job booksho where abought
each other a play, I realized this doesn't happen a
lot because it was on the West End and Eric
and I were talking about this the other day. Shows
that transfer, a lot of them are already published, so
know that it's when you're listening to this the show
is still on Broadway and everything it is fully published
and able to go.

Speaker 3 (14:22):
It is an expensive script, and there's a chance that
the script is different from the performance you'll see because
it was published. It was published Berstal process over there.

Speaker 1 (14:28):
It was published. Yeah, it was published before the West
End production opened, So like it is I read. I
skimmed through it a little, and it is a little different.
The story isn't different, but there I can tell there
are like some moments and lines stuff that got tweaked
that are americanized, but the monologues are all still in
there to like some extent, So I would definitely, I would.
I would definitely get the script if you can. I think,

(14:50):
like when an averagrips was like thirteen bucks, I think
this one was like twenty two, which is like pricey.
But it's a long script too, It's a long play.

Speaker 3 (14:56):
I rushed it. I've seen a few plays since i've
been here, not as many as I would like because
I was hashtag unemployed for the first month. But that's
why I would have traded every other play I've seen
so far to see that play once.

Speaker 1 (15:07):
It's great. It was so good. Well, here's the thing,
that's why this whole thing started, this whole answer started.
I wanted to know what your experience was rushing a
show for the first time ever. Okay, so because you're rushing,
you're doing it again in like two hours.

Speaker 3 (15:20):
Yeah, time flies, time flies, time flies, time flies.

Speaker 1 (15:25):
What if my what if my episode when Randy is
like cream fresh crampfrash.

Speaker 3 (15:32):
I was gonna say what if my like like pen
name was tom Flies, But I am so stupid. But
when you say it right, it's time flies. Anyway, This
is literally what happens when we sit down with each other?

Speaker 1 (15:45):
I know the question was we lived together, we talk
all the time, you wish Jewish.

Speaker 3 (15:52):
My room's on the opposite end at the small apartment.
My experience rushing was that I looked around and made
sure I was doing it right. Yeah, and there were
obviously all the theaters are around each other, so I
was like, there's the job rush line. This is my
rush line. There were only three people ahead of me,
and I thought that they were all best friends because
of the way that they were talking with each other.
But then, in classic respectful New York fashion, I minded

(16:14):
my business and didn't really engage with others around me.
But I did fully listen. Yeah, and obviously could have
joined the conversation because they were super friendly. But it
was three people. Now I'm thinking, like, what are the
odds aty of those are Playbi's. I would say two
out of three of those people could have been Playbe's.
That would be weird. But again, head down, minded my business,
New York baby.

Speaker 1 (16:32):
And they wouldn't They wouldn't recognize you.

Speaker 3 (16:36):
I well, I was wearing my T shirt that says
play Disease Own Eric Accoon parentheses co host and you
added that app so you think they would have said
something something I was, we don't have those T shirts yet,
don't ask, but one day we will.

Speaker 1 (16:50):
No.

Speaker 3 (16:50):
There were three people and two younger people, one older woman,
and they were legit, just like they had clearly been
the longest and first they were just like trading info
about like what to see, how they're finding out about
free events, like what's going on, what their backgrounds are,
and it was like so informative that I in a
bit of a creepy fashion anytime someone was like, oh,
sign up for this newsletter or did you hear about

(17:11):
this musical? It closed, but I'm hoping it gets picked
up again because it was so good.

Speaker 1 (17:15):
Yeah.

Speaker 3 (17:15):
I was like in my notes app like, and there's
a couple times where I was like I kind of
want air on this, but then you know, too much
time had gone by, and then the conversations were happening
to the people behind me instead. But it was really
really pleasant. The line moved quick.

Speaker 1 (17:29):
I got there like twenty minutes early, and I didn't
really need to.

Speaker 3 (17:32):
Everyone had seats, and while we were at the theater,
I saw everyone else had been waiting because dude.

Speaker 1 (17:36):
That's the thing with plays on Broadway. Being a play
nerd is so nice. We went to first preview, we
went to opening, it was opening. We went to opening,
the opening show in the country. They look sold out
by the time it started. But yeah, but like you
rushed twenty you got their twenty minutes before, like right now,
we opened it ten. I got there like nine to forty,
like from what I've heard or from what I know.

(17:57):
If you want to, like Rush Back to the Future,
which has been open for like a year and half
and it's like a cool musical or whatever, you think
it there like two hours early. Like Liza and I
when we Rush Back to the Future, we got there
like an hour and a half early. Yeah. Yeah, Like,
plays are very different.

Speaker 3 (18:08):
It's kind of the best case scenario for me.

Speaker 1 (18:10):
The only plays that I would say rush with the
mindset of a musical is Harry Potter just added just
in the last a month or two, added a full
rush line, so it used to just be Friday for no.
Mary also does not count in this conversation. Yeah, oh,
I guess three oh Mary and stereophonic, Yes, it was
the seraphonic linebig, you were near that did you see
I didn't see. Oh wait, no, it's on the other street.

(18:31):
You run forty fourth, it's on forty five. Yeah I didn't. Yeah,
I wonder if their line is long.

Speaker 3 (18:35):
I was also making googly eyes at all of the
hot theater technicians smoking.

Speaker 1 (18:38):
That's fair, that's more than fair. But yeah, yeah, well, good, well,
I'm glad you had a good first rush experience. Yeah,
it was positive. We got the tickets. We got the
tickets and try to go for together. It's a bunch
of available and there were no obstructed viewss. Right, that's awesome.

Speaker 3 (18:51):
If you're like, oh my gosh, this is helping me
plan for a trip to New York, you might be
able to get a rush ticket. It could be behind
like a column. Oh, so be sure to ask and
then just think of about what that's worth for you.

Speaker 1 (19:01):
Yeah, there are definitely asked about obstructed and also know
that there are because I work nine to five, like
I work, like in like an office, even though it's
a theater job. Like I I work nine to five.
There are some days where I'm like, I want to
see a show tonight. I just go to Tame Square
and go to every theater I can and ask for
Rush chickens. A lot of the time they're still available, Like, yeah,
shout out. This past weekend, Liz and I stood outside

(19:22):
the roommate shout out Jen Silverman opening night, just to
see Patti Lapone's face. It was worth it. They sent
picks in the group chat. It was awesome. And Silverman,
Jen Silverman is so small. Yeah, I didn't realize that. Yeah,
Genivererman also looks so cool, like the coolest looks. They
are so cool, Like Jen looks as if you've read
any of their plays. Jen looks as cool as you think, like.

Speaker 3 (19:45):
Fully, So do you know what reach Gent Silverman's like fiction? Yeah,
there are Island Dwellers that collection short stories. My mom
got me, Like you can just they're like cool in
this way where I'm like, you've lived in so many countries. Yeah,
that your ident is like wrapped up in you and
not trend and not appeasing any sort of like certain outside. Yeah,

(20:05):
and it's this very specific niche thing and it's very cool.

Speaker 1 (20:08):
We're waiting on a time when Liz, Erica, myself, and Christian,
our other roommate, I can all kind of go see
the roommate together because I think we're all very excited
about it. But yeah, but yeah, but no, So while
we were doing that, I got less interested after I
saw Patti Lapoone's face because I heard Appiplaza was like coming,
and I was like, I don't want to be here.
I thought she'd show. I know that she and she
here's the thing she fully would have if she like

(20:29):
could have. I know I know that for a fact.
But okay, yeah, but I was like, Liz, I want
to go see a show tonight, and she was like,
it's like five thirty, Like we can't go see a show.
So I just walked up to a bunch of theaters.
It was literally shows. It was a Thursday show started
SAVN on Thursdays usually. Yeah, I walked up to a
bunch of theaters at five thirty. There was full view
tickets at Water for Elephants, full of you tickets that sucks,

(20:51):
full view tickets at job and full of you tickets
at once upon a mattress wild so like know that,
Like also if you are not a morning person or
if she if like it feels a little overwhelming or
something to like wake up at eight am and like
being aligned with a bunch of strangers and try to
get those tickets that you can see Broadway shows for
rush tickets. Pretty late in the day. I almost got tickets.

(21:13):
I oh, I got offered them. I said no, But
I got offered rush tickets to Great Gatsby like literally
an hour before their show. Yeah, like it was just
because Jeremy Jordan wasn't on that night, and like no
one got rush tickets because everyone's real excited to see
Jeremy Jordan is yeah as Jay Gatsby. But but yeah,
so just know that. Like also, like we're gonna go
today and rush job and maybe next week for California

(21:34):
or Connecticut, we'll talk about job because that's when we'll wait.
But but yeah, the rush system in New York. Also,
there's so many other great things like TDF and today
Ticks that help you get like cheap tickets, which is
really really wonderful. But yeah, but I'm so glad that
you that you rushed for the first time. I know,
I didn't realize that your first time till you said it.
Like when I was like at work and you were

(21:55):
like heading in and I was like one.

Speaker 3 (21:56):
Of those things were I think that, like it's easy
to so I would have done that.

Speaker 1 (21:59):
Yeah, I think.

Speaker 3 (22:00):
I think I also come to New York so much
because I have family and friends here, but typically I'm
here for a holiday or to like go see people
for specific events. Where actually didn't see as many plays
here as I would have hoped you over the years.

Speaker 1 (22:12):
And when I come here, I I kind of just
whenever I would come here before, I would just come
see as many shows.

Speaker 3 (22:16):
Yeah, for you, that was why you came here. Yeah,
And so I was almost one of those like is
it too late to ask? I was kind of like, yeah, yeah, I.

Speaker 1 (22:22):
Can do it.

Speaker 3 (22:22):
I can do it, and it's just it was there.

Speaker 1 (22:26):
I fully, I fully thought you did it. And then
like the night before or the morning up, I was like, wait,
you've never done that before then.

Speaker 3 (22:32):
And I was like I was like no, no, like
I'm brave and fine, like I don't think anything's gonna happen.
I think it's just a line.

Speaker 1 (22:37):
It's just a line, which all of New York is
just just a line. Yeah, So it's just it was fine.
It was great. But yeah, we manted for twenty three minutes.
No dude, Okay, I'm not going to cut anything. This
is awesome. No, here's the thing. It's a Okay, we
haven't even said the state that this says yet.

Speaker 3 (22:52):
Justin what state are you in frontally that today?

Speaker 1 (22:54):
Aubama, Alaska, Areas. We're done there, we.

Speaker 3 (22:59):
Go Arizona and then get ready for the three fact
challenge of your life.

Speaker 1 (23:04):
I'm so excited. Okay, we're talking about Arizona today. Here's
the thing. Arizona was another tough state. But I found
some really cool theater companies. I found some really cool opportunities,
and I found some very niche playwrights that are very cool. Okay,
so it might be a shorter Honestly, maybe it might
have been good that we bantered for twenty two minutes
because I have a lot of like small facts about stuff.
Oh that rocks. I'm just going to kind of randomly
talk about things, Okay, But I'm going to start the

(23:27):
way I start every one of my episodes with with
the wiki paragraph. Okay, Arizona, Arizona, our Arizona, but in Arizona, Okay.
Arizona is a landlocked state in the southwestern region of
the United States. It is part of the Four Corners region,
with Utah to the north, Colorado to the northeast, New

(23:48):
Mexico to the east, and its neighboring states are Nevada
to the northwest, California to the west, and the Mexican
states of Sonora and Baja California to the south and southwest.

Speaker 3 (23:58):
Have you ever done that? Have you ever put your
your footies and your your arms in the four different
states of the same No?

Speaker 1 (24:04):
Have you? No?

Speaker 3 (24:05):
But I always like to ask because some people have
done that.

Speaker 1 (24:07):
I liked the did you ever see the oh? What
was it?

Speaker 3 (24:10):
The uh?

Speaker 1 (24:12):
Oh my god? Why am I blanking? I want to Oh?
The the Simpsons episode where someone takes you don't watch
you Simon?

Speaker 3 (24:21):
No, I'm not.

Speaker 1 (24:21):
I wasn't a Simpson.

Speaker 3 (24:22):
That's crazy in a south Park like Star Wars Family,
not a Simpsons Star Trek.

Speaker 1 (24:26):
Yeah, there's a Simpsons episode where I forget who it was.
It might have been Crusty, but someone kidnaps Bart to
murder him, and the whole plan is to murder him
on this like four corners, uh spot because they're doing it,
but Bart came on like scooting onto the state that
they don't want, so's like no, stop, Like yeah, the
person has all the laws memorized that They're like, well,
if you die, if you I could hear, I have

(24:46):
to be in this state, that's.

Speaker 3 (24:48):
Where we're at.

Speaker 1 (24:49):
Yeah, that's where we're at. But yeah, so that's Arizona.
It is the It is the sixth largest and fourteenth
most populous of the fifty states, which I didn't realize
is the sixth largest state in the United States.

Speaker 3 (25:00):
Doesn't make sense to me, But I believe you.

Speaker 1 (25:01):
I know It's capital and largest city is Phoenix, which
is the most populous state capital in the United States.
Can you believe that Phoenix, Arizona. I can't believe that
actually is the highest populated state capital.

Speaker 3 (25:14):
Okay, I'll go with you.

Speaker 1 (25:15):
I'm going off Wikipedia. It's never been wrong. Phoenix, Arizona
is the most populated state capital in the United States.
Isn't that crazy? That's so weird.

Speaker 3 (25:25):
I wouldn't have thought that. I will say, that makes
me feel like they should have a big theater scene.

Speaker 1 (25:28):
Then they have some really good here's the thing. A
lot of the thing I'm going to talk about today
is Phoenix Theater. That makes sense. Yeah, okay, but yeah,
So next up, though, is my favorite game, right, Arizona
fun facts. I'm gonna say the Arizona State something, and
I want you to guess what it is. Okay, okay,
ready they have some weird ones. The Arizona State necktie, necktie, Yeah,

(25:50):
what do you think of it?

Speaker 3 (25:50):
Is it the type of or like the type of garment?

Speaker 1 (25:53):
I'm not going to tell you. Is it the gas
that's the whole point of the game, idiot?

Speaker 3 (25:57):
The Arizona kerchief.

Speaker 1 (26:00):
No, it's a bolow tie.

Speaker 3 (26:01):
Wait that Actually I thought, seriously for ten more seconds
I could have got there.

Speaker 1 (26:06):
Arizona State metal. What's the Arizona State metal? You know this?
It's copper copper, so dumb. Arizona State mammal armadillo. It's
a ringtail? What is that? I don't know. I don't know.
It kind of looked like you made that up. No,

(26:26):
it kind of looked like a raccoon. It looked like
if it looks it looked like if a raccoon and
a fox had a baby.

Speaker 3 (26:31):
I'm in that.

Speaker 1 (26:32):
Yeah, I know. It kind of was cute. Okay, this
is my favorite one I've ever read. All Right, what
is the Arizona State firearm? State fire?

Speaker 3 (26:41):
I didn't know that was the thing I could be
looking for.

Speaker 1 (26:43):
Did okay.

Speaker 3 (26:44):
Well, I'm like, okay, it's like it's dry.

Speaker 1 (26:45):
There probably not something that like you don't know, you
there's no world where you will know this.

Speaker 3 (26:51):
But it's a type of gun. Is it like a
type of gun that.

Speaker 1 (26:54):
You're narrowing it down? It's good?

Speaker 3 (26:57):
Is it a that's a tough question because like we
in America. But I was like, is it like a
typically more civilian gun or like a scary like paramilitary gun.

Speaker 1 (27:06):
I don't know. It's kind of like an old It's
kind of like an old gun, I think.

Speaker 3 (27:09):
Okay, okay, okay, like a revolver pistol.

Speaker 1 (27:14):
It's a cult single action army revolver.

Speaker 3 (27:16):
Because I was thinking of like when Cowboy got that's
you and there's like a tumbleweed and then you just
go and you draw.

Speaker 1 (27:25):
That's the extent of our guds. Shut up. Yeah, that
was good, good job, all right. Last one, what is
the Arizona state nickname?

Speaker 3 (27:33):
This one's easy, Arizona state nickname.

Speaker 1 (27:35):
Arizona state nickname. I actually I did I guess this.
I knew this. It's simple. It's it's basically just think
of the most famous thing in Arizona. Phoenix, No, the
most famous thing in Arizona.

Speaker 3 (27:48):
Arizona, t Arizona Sandy Sands. There's water in the cactuses.

Speaker 1 (27:57):
I don't know, midle A, what is it. It's called
the Grand Canyon State.

Speaker 3 (28:02):
Oh, actually I did look at that when I was
looking at facts to get you on.

Speaker 1 (28:06):
It's the whole thing.

Speaker 3 (28:09):
Well, there's there's a couple other things too, Okay, but
I'm not going to tell you that.

Speaker 1 (28:13):
I'm hoping you're gonna trick me with the two.

Speaker 3 (28:15):
I'm going to trick you.

Speaker 1 (28:16):
All right, Well, look that makes sense. This is plain
a z we bantered long enough. Tell me talked about Arizona.
Let's talk about the theater scene in Arizona. And I'm
going to talk about three theaters today. There are three
really really dope theaters. They kind of span Phoenix, Tucson
and then Messa and Scottsdale. But they have really, really,

(28:37):
really awesome work that they're doing that I was super
excited about. First I'm gonna talk about is Arizona Theater Company.
They have a wonderful history page on their website. I'm
going to talk about for a second. Okay, So celebrating
a long legacy in Arizona, for more than fifty years.
Excellence has been at the heart of the mission of
Arizona Theater Company as a cornerstone of cultural life in
our state. ADC has achieved prominence through the dedication and

(29:00):
an imagination of thousands of artists, crafts, people, and supporting
audiences in both Tucson and Phoenix. So they have two
different locations, which is cool. The nineteen sixties. The beginning
Arizona Theater Company was established by the Arizona Civic Theater
in nineteen sixty seven by Sandy Rosenthal and a group
of civic and business leaders concerned about the demise of
community theater activity in Tucson. They're not nice when business
people are like, ma'am, there's no theater here. The company's

(29:24):
first season consisted of four production presented in a ballroom
of the Santa Rita Hotel. Total attendance for the season
was four thousand, and the operating budget was eight thousand dollars.
The following year, the newly formed Arizona Commission of the
Arts and Humanities awarded that's first grant ever to the theater.
We can ask you a quick hypothetical, yes, So they
did that.

Speaker 3 (29:40):
The business people were like, crash, I've got to put
in a ballroom.

Speaker 1 (29:43):
A ball room.

Speaker 3 (29:43):
If you approached a random town that did not have
a theater but it had other traditional town things, and
you're like, hey, I'm a businessman, I'm had invest a
little play happen. Yeah, yeah, what like location, structure, entity?

Speaker 1 (29:54):
Would you be like, and that's where we'll do the play.
I'm so loud you ask. Traditionally, I know already what
I would either do it. I would do it site specific,
and I would like find plays that are like that
are set in towns like that and like go to
like do it in the diner, or do it in
the thing or football field. And I would do every
outdoor I do every outdoor play I could think of.
I would do the grown Ups, I would do I

(30:15):
would do a Glory Days, I would do the Wolves.
I would do every play I could I could think
of doing on a field. That's cool. Yeah, because you
already have the lights, you already have the stadium, and
it would feel like probably not super full, but you
have everything's already there.

Speaker 3 (30:29):
That's cool.

Speaker 1 (30:30):
Yeah, Yeah, what you do I don't know.

Speaker 3 (30:33):
Here's the thing. I'm having a lot of quick ideas
but I'm not having a lot of good ideas today.
So my first instinct was, Zana, do with the roller rink,
the roller rink, and then after after you don't go home.
You get a free skate rental and you keep the
vibe going and you skate with the cast and the
soundtrack plays.

Speaker 1 (30:50):
You know, Erica is off her rocker and she's pitching
musical stuff.

Speaker 3 (30:54):
Well, this is a town that doesn't have theater, so
you got to get him in. It's got to be
it's got to be in the community. It's got to
be an event.

Speaker 1 (31:01):
Okay, keep going this Arizona Theater Company And in nineteen seventies.
Nineteen seventy two, the company moved into the little theater
of the newly constructed Tucson Community Center. The neucility had
a five hundred and twenty six semi thrust theater and
offered rehearsal, costume, scenic, construction shop space. Also in that season,
the company received its first grant from the National Endowment
of the Arts, which is designed to assist companies. You know,
it's all the biggest regional theaters are a national dominant

(31:23):
of the art theaters. Nineteen eighties, a decadive change ATC
experience continuing change and promise of artistic director Gary Glissman
when he led ATC with a full schedule productions both
in Phoenix and Tucson. So the eighties is when they
had both these theaters and they were fully putting up
seasons like two seasons. It's crazy. Nineteen nineties are promising future.
As Arizona Theater Company approached its fiscal year in the

(31:45):
nineteen nineties, it was faced with both change and potential.
It began its Phoenix season by performing in the Herberger
Theater Center and as constructed. As construction proceeded as anticipated
on Tucson's Temple of Music and Arts, it began performances
there in the early fallally had its home theaters in
both these places. Okay, so so so cool nineteen ninety
nineteen ninety one, the season opens with Amedeis and the

(32:06):
Tucson Home. They're doing Holy Terror, They're doing some of
the really they're doing some of the coolest plays ever.
David Ira Goldstein becomes the artistic director and he directs
over He's directed over two hundred plays in Arizona in
this time. So David Ira Goldstein is like a legacy.
Oh here's one. One of the highest selling shows at

(32:29):
Dramatist is Stephen Deetz's Tracula. It's one of like I
see it all the time being sold world premiere ATC
oh cool. And not only that, ATC starts a long
running relationship with Steven Deets. They've world They've premiered a
bunch of his plays. Interesting. Yeah I know, yeah, I know.
That's why I said it. Yeah, yeah, I wouldn't have
said it if it wasn't interesting. God, I know, listen up.

(32:50):
Oh you know another one that I've heard is really good.
Sherlock Holmes The Final Adventure. Oh I assistant and then
premiere to ATC cool, very very cool. The Kite Runner
that end of up going to West End started the ATC.
They raised two million dollars in twenty sixteen for their
shows they did. They world premier The Legend of Georgia McBride.

(33:11):
They this is one of the coolest theater companies that
I never heard of. It's a very very cool theater
that has worked with a lot of really really wonderful
play rights and really wonderful like creative creatives. Another thing
that they have that I love they have a where
is It? The National Latin play Rights Award, which if

(33:31):
you are a LATINX playwright, you are able to submit
to this thing and they produce your work and they
give you a huge stipend and you get to like
create work with this really really wonderful theater. Right now.
The most recent winner is David A. Tucker the second,
who's a Arizona based playwright, a LATINX playwright, And it's

(33:52):
very very cool. Their season is super dope. Where is it?
Their season is wonderful. It's it's very clearly like a good,
like selling season. They're doing dial M for Murder. They're
doing Scrooge ATC's Holiday Musical, so I think they have
their own commissioned.

Speaker 3 (34:06):
Uh yea.

Speaker 1 (34:08):
Christs Carol. They're doing Blues in the Night. They're doing
Bob and Gene a Love Story, which is a new play.
They're doings Miss Holmes and Missus Watson in an Apartment
to be. They're doing like very very fun, cool plays
that I think are gonna sell super well. They're like
your classic I would compare to them like the Ohio
and Me. I would compare them to like Cleveland Playhouse,
Like they're not like Obama. They're not like doing like
some of the weirder stuff, but they're doing some really

(34:30):
great big stuff. Also fun fact of the day, they
co produced the world premiere Chrums from the Table with
Joy by Lynn Nottage. Oh, I didn't realize that it
started here. Well, I mean it didn't start here. It
was they were in Coporate. You know how we saw
we saw it. We saw it every man, but you
know how we saw What show do we see at
Pittsburgh Public.

Speaker 3 (34:48):
That was a co production with Seattle Young Americans.

Speaker 1 (34:51):
Young Americans written by oh my gosh, the person who
wrote lorn Ye. It was like that, like how like
a couple of regional theaters kind of like commiss in
the show together. Yeah, so they did that for Crumbs
on the Table. Want a freaking want a freaking show
to depict a freaking goal for freaking show. So I
have a question for you. Okay, you have a theater company.
I do.

Speaker 3 (35:11):
It's called the Korak Theater. We have one million interns
this year. You're starving.

Speaker 1 (35:16):
Shut up. Sorry. I looked over at them and they
tried to make eye contract.

Speaker 3 (35:19):
If you hear like this, like kind of like Morocca sound.
It's just their bones because they're shivering.

Speaker 1 (35:22):
They're shivering because they're so cold. Yeah, we only give
them one one show t shirt from a couple of
years ago. That's all they wear. Yeah, and they're stuck
with that. If you if you had to so it
may like them. I'm double excel looks awful and not good.

(35:42):
It's unflattering that purpose. So Arizona Theater Company is super dope.
I think, like if you're gonna see theater in Arizona,
Phoenix and Tucson are not super close to each other,
so they kind of span Arizona. And they have really
great seasons, really fun shows, and it's like a good
professional equity theater. You should go see their stuff. I
was so excited to see that they've done so much

(36:03):
work with Stephen Deeds and with Lynn Nottage and with
these huge playwrights that have done such amazing stuff and
trust this theater to co produce and create work with
you know what I mean. They also put so much
money into specifically you'll kind of hear this throughout the episode.
The LATINX community of playwrights is huge in Arizona. It's massive,
so like the national Latin Playwright Award is like through ATC,

(36:25):
which I think is so dope. But the big thing
that I wanted to ask is you have a theater
company and you are investing in a playwright. You are
investing in and they can be as well known or
as little known as you want. But think about it
as the rest of your season. Season is like money Makers.
You're doing like Christmas Carol.

Speaker 3 (36:42):
You're doing like this is my special project.

Speaker 1 (36:44):
This is a special project that you are that you
that you're doing for two reasons, One because it means
a lot to you, but two because you're like, I
think this will kill I think it'll do really well.
I think either like the play will be big or
it'll bring in a huge audience. What playwright are you
investing in for that slot?

Speaker 3 (36:58):
She's gonna send me a season desist at some point,
but I am gonna pick mar Nelson Greenberg.

Speaker 1 (37:03):
That makes sense.

Speaker 3 (37:04):
Because I stilled every day. I want to open up
my little MacBook and email her and be like please
please place and like, honestly, the actual way to do
that would be to say I have a big boat
of money. Do you want it?

Speaker 1 (37:18):
Yeah?

Speaker 3 (37:18):
And so I would I would invest to her because
truly she wrote do You Feel Anger, which is one
of my all time favorite plays.

Speaker 1 (37:24):
Have you still not watched our scene in that oh
blow me Up? It's good?

Speaker 3 (37:28):
No, I forgot blow Up three years of Grad Squad.
I didn't watch.

Speaker 1 (37:33):
I don't know why I'm thinking about this now.

Speaker 3 (37:37):
No, I would invest in Martin Nelson Greenberg. Also, I
had an awesome playby d M me and be like,
oh my gosh, I don't remember off the top of
my head what the connection was. But they actually saw
that production of Do You Feel Anger, like way before
they ever listened to the podcast or anything, and so
they were like, oh my gosh, like looking back, like
I was there, I saw that. I think this person's
like uncle or something that's so sick. It was involved.

(37:59):
It was such a cool DM to get. I'm sending
them a sticker.

Speaker 1 (38:03):
That's nice.

Speaker 3 (38:04):
But it just popped into my head again because of
that conversation with that person and that cool listener. So yeah,
it just hands down. She's like still she's like so
well known for being so good while still being up
and coming, which to me is like the perfect investment
or like the perfect person where.

Speaker 1 (38:22):
You're like, hey, I feel like Also, if you have
like a five show season and you're doing like like
like they're doing like a lot of like like a
like a Miss Holmes and Miss Watson in an apartment too,
people Calders and stuff like that, to put a Martin
Elson Greenberg play in the middle of that, Yeah, you're
gonna get your season ticketholders to have a season taking
so that they're gonna come and you are, you're gonna
get a bang.

Speaker 3 (38:42):
If this was my theater, I would I would specifically
bring her in and I would commission her to write
plays with the age group of whatever the best local
theater programs were, so that if I'm having a bunch
of maybe folks who are retired or have established incomes, right,
not our thirty under thirty club, if they're coming to
see Scrooge, I would want to get in with those

(39:04):
younger audiences and stuff like that and give them professional
performance opportunities. But then also like get those younger audiences
in with with a cool play.

Speaker 1 (39:10):
Right, Yeah, Yeah, that's good. That's a good answer. That's
a good answer.

Speaker 3 (39:14):
Somebody make me the artistic director.

Speaker 1 (39:16):
I thought, I thought about that question before I asked
it to you, and I was like, obviously I want
to do Andy Baker, but like just a need it.
But I think, but here's the thing. Money wise, I
think right now the best player you can get is
b JJ Brandy Javid Jenkins would write a banger and
it would sell the heck out.

Speaker 3 (39:32):
Well, that's like, that's the opposite side of the Anty
Baker coin, because they're so linked up right. I don't know,
so you're I know that you're still just trying to
get to her. I know that that was a trick.

Speaker 1 (39:40):
No, I don't know what you're talking about.

Speaker 3 (39:41):
You're being tricky.

Speaker 1 (39:42):
I'm not being tricky, but I will say I will
say that a part of the commission is if there
are any published playwrights on the faculty that you work on,
I would like for them to come to the opening,
just as a just as a precursor, just as a precursor,
just a precursor, just as.

Speaker 3 (39:54):
A no, just as a just as a she gets
a T shirt.

Speaker 1 (39:56):
It's just so small, she gets it's very flattering shirts.
Stop shivering. Their bones are so loud, their bones are
their bones are too loud. It's Arizona Theater Company. Cool fun, Yeah,
heck yeah, Okay, next one. The Phoenix Theater Company makes sense.
I know it's in Phoenix, Arizona. They're they're a wonderful,

(40:20):
very cool theater company. The Phoenix Theater Company, originally founded
by the Phoenix Players in nineteen twenty, is the oldest
arts organization in Arizona and remains one of the oldest
operating organizations in the county or in the country. Although
the Phoenix Players performed in a variety spaces, including schools
in backyards, there was an inevitable need for a permanent,
dedicated theater space, and in nineteen twenty four, the Herd
family offered the newly named Phoenix Little Theater their old

(40:42):
coach house on Central and McDowell. So they basically they
were doing theater for like five years in backyards and
in parks, and then uh, then a random family was like, Hey,
we'll give you the old the house in our backyard
that we don't.

Speaker 3 (40:57):
Use anymore, classic patron of the yards.

Speaker 1 (40:59):
Isn't that awesome? Like, I love that. Arizona Theater Company
was like within their first year they got this big grant.
Within four years they were a national Arts endowment. You
guys were like, we got someone gave us a little hoppen.

Speaker 3 (41:09):
We got four walls. We got four walls, Baby, four
walls in the richest backyard.

Speaker 1 (41:12):
So they did theater there from nineteen twenty four to
nineteen fifty two.

Speaker 3 (41:16):
Wow Backyard Wow.

Speaker 1 (41:18):
In nineteen fifty two, Ford President Stephen shed along with
the Herd family who's still helping and funding, and Barry Goldwater,
fought for in one funding for the construction of a
new building. This building was at the core of a
development of a developing art and cultural area that would
later welcome the Phoenix Art Museum and the Phoenix Library.
The the the Phoenix Theater Company, renamed in nineteen ninety three,

(41:40):
has since embarked on several renovations on the current space.
D d d da, Dada, dada dada. In two thousand
and six that the Phoenix Theater Company developed a plan
to address the shortage of space and to build their
theater even more. In October of twenty thirteen, the Phoenix
Theater Company revealed one of the most significant expansions of
performing arts faculty facility in the Southwest. The addition including
a soaring glass atrium lob. It looks sick, look at

(42:01):
this theater. This is what. They went from a backyard.
Oh who and from a they went from a backyard
to that.

Speaker 3 (42:08):
It looks like the theater looks like a lantern, literally does.

Speaker 1 (42:11):
It's a huge glass atrium. They have a black box.
They have a massive like uh like like proscenium space.
They've become. They've like, I think they're another really great
example of like how a theater can grow and how
like you can grow from like a backyard to like
something even more. And I think that's so so sick.
But yeah, they're they're doing really really cool stuff. Uh

(42:31):
they are. Let me look at this. Okay. One thing
that I think is very very dope. Uh. They have
a partnership with a group called Partners that Heel. I
want to read to you what this is. Partners at
heel fundamentally believes improvisation is a universal tool that should
be used to support those who are at their most vulnerable.
Partners that Heel has developed two hundred and fifty plus

(42:52):
proven im improvisational interventions that improve communication and rapport between
individuals and their caregivers. Partners at Heel techniques can also
help strengthen care staff resiliency. Partners at Heel is exclusively
programming developed by a Phoenix theater company. Through more than
a decade of direct service to more than seventy thousand patients,
they created this team called Partners at Heel that uses

(43:16):
improv to build relationships between patients and their caregivers. Isn't
that beautiful? That's cool? They like go into this and
they go into like like they have photos all over
their stuff of like them in hospitals with like children
and their doctors and stuff like that, and like their
work in the community and everything, and they go in
and they use improv to like help not like like

(43:39):
like to help facilitate relationships and to help grow the
relationships between like the people that are stuck in that
hospital for a long time and the caregivers that they
see every day. Especially with kids. That's so important.

Speaker 3 (43:50):
It's so much like a kid who spent a lot
of time in hospitals, Like, yeah, adults are already kind
of like scary and intimidating, and you're already like in
this very kind of strange force or an environment where
you're like I am not comfy, Like this isn't fun.
I'm not around people my age, Like it's very sterile
that's very very cool, isn't that cool?

Speaker 1 (44:08):
Yeah, yeah, it's very very cool. But okay, So the
last thing I want to talk about with Phoenix Theater Company,
because they're like just a classic, really great big theater
company in Phoenix. Another one they another really dope way
that they are supporting new playwrights. They created something called
the Festival of New American Theater. Oh it's the Southwest

(44:28):
premier New theater Works Festival. I'm gonna read this yere okay.
Hosted annually by the Phoenix Theater Company, the Festival of
New American Theater amplifies new voices and expands the canon
of American theater. The twenty twenty five Festival will continue
honoring our long standing commitment to the development of new
works and playwrights and performers. Include a variety of events
that allow artists of all kinds to see their work
come alive on the stage. Next year's festival in twenty

(44:48):
fifty five is running from January seventeenth to February second.
They'll feature a play reading, two musical readings, two composer
lyricist cabarets, a choreography lab, and the return of the
twenty four Hour Theater Project. It's so so dope and
an they're really great. I like when there are examples
of like these people not like I feel like every
theater company has some type of playwright. Every theater company

(45:08):
has some type of like playwright initiative or like a
lot of them do, whether it's like a playwright lab
or like you know, they have someone, or they have
like a resident artist, or they have like a festival,
like a New Boroks Festival or something like that. Right,
But I love finding theater companies that like show like, hey,
like we don't just like do this for that moment.
We do this as like this is like a part
of like they're a part of our community. And the

(45:31):
reason why, like you know that, is there's a play
in their season. The season's really cool. I'll talk about
it in a second, but there's a play in their season.
It's or it's a new musical called we Ain't Never
Gonna Break Up, The Hymen and par Funkle musical saw
Hymen and Bart par Funkle starting their own musical, playing themselves,
their own instruments, and a myriad of other characters on
the path to superstardom. Ish Following a successful stage reading

(45:53):
in the twenty twenty four Festful New American Theater that
was earlier this year, its original two man production is
ready for its world premiere, parodying the tropes of jukebox
musicals like Jersey Boys, MoMA Me A Beautiful and Too Proud,
Tina Always, Patsy Kline, The Share Show, and a dozen
u inevitable new bio musicals to come. So these guys
made like a parody musical about all the bio musicals
come in to Broadway. I mean, like we know, like

(46:13):
they're simon music. So I don't think they were allowed
to have I think it's a parody. It's like just
all parody stuff. But like this was this was literally
this wasn't in their in their New Work Festival five
years ago, in their New Work Festival eight months ago.
And it's opening their season in a full month run.

(46:34):
That's cool on their mainstage.

Speaker 3 (46:35):
That's good investment too.

Speaker 1 (46:36):
It's awesome. It's so sick. So like their season this
year is great. It's we we we are never going
to break up. They're doing Waitress and doing Miracle on
thirty fourth Street. They're doing Susicle Boom they're doing the
Festival of New American Theater. They're doing Churchill, they're doing
Jersey Boys, they're doing Forbidden Broadway, they're doing Into the Woods,
and then they're doing Let the Good Times Roll a
New Orleans gumbo, which is a where is that one?

(46:57):
It's a world premiere like musical. Oh no, dude, this
I didn't even realize this also fresh from a stage
reading of twenty twenty four Festival in New American Theater.
Nice people like this, Like theater companies like this pick
their seasons years in advance. Yeah, Like I know that
for a fact. I'm like in licensing now, Like I
know that professional theater companies pick their seasons years years

(47:18):
in advance. These guys added two musicals from their New
American Theater Festival this January to their full season. Yeah,
to cap it off and to end it. It's so cool.
That's cool, and I think it's like a really awesome
thing to be like, hey, like, yeah, they have this
cool like Festival of New American Theater, and I think
that's so important for as many theater companies to invest

(47:39):
in as they can. But these guys are not just
investing in that one festival. They're investing in these writers,
They're putting the time and effort in and there, and
there's payoff, like very clear payoff. Multiple shows in their
season are coming from this festival. To have a mainstage
show at an equity theater, yeah, after you do a
festival is so sick. And I think it's like, it's

(48:01):
very very cool of them to take two slots of
their season and instead of doing a waitress or a
jersey bizz again or something like that, they're putting these
new pieces up. And I think it's a testament also
to the audience and to the season ticket holders and
the people at the Phoenix Theater Company because they're they
wouldn't be doing this if it wasn't something that they
think would sell, and if it was something that they
think would work.

Speaker 3 (48:21):
People are just interested in seeing that.

Speaker 1 (48:23):
Yeah, so it's very very cool. It makes me very happy.
I'm a very big fan of Phoenix Theater Company. Okay,
last theater company. I'm going to talk about the Southwest
Shakespeare Company. They're very very cool and let's let's talk
about them. Tell me about them, Okay, let's talk about that. Okay,
all right, thirty years of transformation for three decades. Southwest
Shakespeare Company, As I say, what are I talk? It's

(48:47):
been the touch has been the torch bare of classical
theater in Arizona, captivating audiences with timeless Shakespeare masterpieces. From
humble beginning, SEC has evolved. They do a prominent theater
institution in the American Southwest, embracing the theatrical vision of
William Shakespeare. Our user for only approach and commitment to
inclusivity has paved the way for profound community engagement and
artistic excellence. It's found in the nineteen ninety three by

(49:07):
Randy Messersmith, and they've done some really, really really cool stuff.
They've like their budget has gone from thirty thousand dollars
to over eight hundred thousand dollars a year over the
course of thirty years, which is so impressive. They have
amazing partnerships and they do such cool stuff. One thing
I wanted to talk about, though, you got me really excited.

(49:29):
Do you know do you know Tasselson or what's it
called Tasselsen West. It's like a really famous house by
where is it? It's a really famous house by Frank
Lloyd Wright. Like it's like a really famous It's like Frank.

Speaker 3 (49:42):
Lloyd Right is big in the Midwest. But I haven't
seen that house.

Speaker 1 (49:44):
Okay, I'm going to show it to you. You'll know
it when you see it because it's I'm pretty sure
like movies I've been shot here and stuff, Tallsey and West. Well,
Frank Lloyd White is a really really famous architect, right,
and he lived in Arizona and he has he built
this like crazy house. It's like beautiful and he built
it for himself and stuff like that. And now that

(50:05):
Frank Lloyd Right is gone, the people who own that
house give give this, give this home to like Southwest
Shakespeare Theater Company once a year to do a play there.

Speaker 3 (50:19):
They should be doing that at an American Players Theater
if they aren't already. Because there's a Frank Lloyd Wright house,
Like that's the other big tourist trap. I don't know.
I don't think you've ever seen a show there. But
it's in spring Green, Wisconsin.

Speaker 1 (50:31):
This is the telse and West. It's like a really
famous house.

Speaker 3 (50:34):
Yeah yeah, I feel like if you pulled up stills
from different movies and stuff.

Speaker 1 (50:38):
Would for sure. That's very very cool, But isn't a
cool So this year they're doing oh where is it?
This year they're doing let me pull up? Southwest Shakespeare
Company season, they're doing what show is it? They're doing
freaking I want to see? They're Telsey and West House
because it's just it seems so sick. They're just doing
the show in the house. Oh, they're doing Worchant of Venice,
Oh cool, which is sweet. Yeah, there's season. They're doing

(50:59):
the Stity Guard Musical also at Tells West actually, which
is sick. Uh. And then they're doing Romeo and Juliet.
They're doing They're doing Romeo and Juliet. They're doing Christmas
Carol for two actors, and they're doing Twelfth Night.

Speaker 3 (51:12):
Nice.

Speaker 1 (51:12):
They're doing like really really cool stuff. But I thought
that was like a really fun thing. I wanted to
ask you if you were given a very weird house, Yeah,
the weirdest house you could think of, And they were like,
do this show in this house? However you want to
do it? Is there like a play that comes to
mind that you're like, I would do this. There's a
play that immediately came to mind for me, and I
kind of thought we would think the same.

Speaker 3 (51:31):
Does it have to be Shakespeare or is it any play?

Speaker 1 (51:33):
Not thinking any play?

Speaker 3 (51:34):
Oh that changes my answer.

Speaker 1 (51:35):
Then wait when you have an answer, don't say because
I want to say it. At the same time, I
think we might say the same for a weird house. Yeah,
it's a weird house. You're doing it in a weird house.

Speaker 3 (51:44):
Well, I have an answer, but I don't know if
it works, be cause I didn't see this play. You
and Liz saw this play.

Speaker 1 (51:48):
Oh, we're thinking of a different thing. Are you thinking
of Greyhouse a little bit? Yeah? I was thinking of
John oh wanning John be sick to set it up
like a like a bad bathroom beyond them and then
like have them or not a bad bath to a
breakfast and then people like I.

Speaker 3 (52:02):
Always imagine that show in a proscenium for that curtain bit,
like now you're an intermission curtain bit. But at the
same time, like imagine you're in a house and someone
drops a curtain inside the house.

Speaker 1 (52:12):
Is that sick?

Speaker 3 (52:12):
I Also there was a company, Oh, I don't remember
the name, maybe Wayward. There's a company in Minneapolis, Saint
Paul that uses an old historic society. It's a nasty
old Virgiliana, racist old house he's long dead yea, but
his big old mansion they use and they do immersive
productions of Mackers. And I always thought immersive productions of

(52:34):
like Mackers Hamlet right, things where you're in the house
where people are getting stabbed would be awesome. But this house,
James J. Hill House, is legit haunted, I think. And
one of my friends was in the show and she
was like, oh, hey, like I'm in with the people,
like the White Cliff people, like do you want to
come sit in his office with me and like see it.
I was like yeah, So we go in this office
and it was like the most paranormal experience of my life,

(52:55):
like top ten. I was like, oh no, this man
is so mad that literate women are in his office.
And we ran out of the house that was a
theater that night. So I am into that stuff.

Speaker 1 (53:05):
I Oh, that's so cool.

Speaker 3 (53:06):
Yeah, just anytime there's like collab of like we're historic
or we're architects and you're artists and you need event
like that's how mu should work. That's so cool.

Speaker 1 (53:14):
Yeah. Okay, So the last thing I'm gonna say. There's
obviously national tours that go through they go through Phoenix,
They go through Tucson. They also go through Peoria, Clue
Hellodala Beating the Beast. So many shows are going through
Arizona all the time. Yeah, So if you're someone who's
like I really want to see Broadway shows, you have
an opportunity in Arizona, which is really nice in different cities.
The last thing, so now I'm gonna talk about play rights.

(53:35):
And I've been talking for a while, so I'm gonna
go quick. All right, all right, We're gonna we're gonna
shoot through exact four that I want to talk about
for like a quick brief seco. Okay, Okay, First, I'm
gonna talk about very weird. I didn't even realize. I
didn't know this person existed, and they do really cool stuff.
Harry Clark is an American playwright and cellis He's known
for plays that combine drama with live music. So born
in Tucson, Arizona, Clark began playing cello at ten Da

(53:58):
da da Uh. He creates something called chamber music plus,
which pairs musical performance with insight into the creative process
that led into the music. So he basically is like
writing plays next to prominent composers like Samuel Barber, William Bolcom,
David Diamond, Lebby Larson, Benjamin Lee's like people like that,
and he would write plays that are directly paired with

(54:21):
a full orchestra performances. It's really really cool. He's done
really cool stuff. He's worked at someone like the really
like the weirdest, coolest, Like he worked at like like
a Harlem or I mean, some of the stuff that
he's done is crazy, Like he's worked at the Apollo Theater,
the Los Angeles Theater Company, and he's done some really
really really cool stuff. He's written some plays or are

(54:41):
just straight up plays. But I thought he was a
nice little shot out because I've never heard of any
playwright being like, I'm gonna write this play for this
different art form, to go side by side with it,
to go at the to all be at the same thing.

Speaker 3 (54:53):
That's very cool.

Speaker 1 (54:54):
Yeah, It's like it's not an opera where you have
this huge thing and they're like performing, It's like they
are performing something directly interluding with the way the orchestra
is playing. Yeah, it's very cool. It's very different. I've
never heard of it before. A fun thing to know.
The old Pueblo Playwrights Festival twenty twenty four New Plays Festival.
It's it's a playwright festival for exclusively two song playwrights.

(55:17):
So if you are a Arizona listener and you are
based in Tucson, this is specifically for you. They still
have spots open for their things. This is a fully
different thing. I'm moving fast. Yeah. The Old Pueblo Old
Pueblow Playwrights Festival super cool. It's that they do a
lot of really really fun stuff. It looks like but
they just like literally just fund a ton of pay

(55:39):
what you will matinee and evening performances of like stage
readings of plays for like Tucson based play rights. Yeah,
and then like the biggest play rights I could find
were that I like have heard of or that I
hadn't heard of. But I think we're really really cool.
Militia Militia ortiz Uh She is a Salvadorian and American
playwright who moonlights as a poet, a performer, and a writer.

(56:01):
She's originally from the Bay Area, but she now calls
twos on her home. She is a Projecting All Voices
fellow at Arizona State. She's done a bunch of really
cool stuff I read her. I read a play of
hers called Disengaged. It's on all these around New play
Change all the place I'm gonna talk about on New
Patient and you can download them. It follows the lives
of seven high schoolers as they struggle to attend and

(56:21):
stay in stay in school. It's based on source material
story circles with youth and educator interviews on the dropout
crisis in Phoenix. So she like went to Phoenix and
she had story moments, story circles with actual students and
talked to struggling students and wrote this play based on
their struggles, which I thought was so cool. The play itself.

(56:41):
First off, I will say Militia Ortiz a ton of
stuff on New Play Exchange, but this is my favorite
and the thing I was most excited about. It talks
a lot about like how the education system is messed
up and how it's kind of setting people up for failure.
It doesn't feel like, I don't know, It's one one
of these plays that, like, I think, takes a hard

(57:02):
look at the education system through the eyes of the
people that actually it affects the most. Like she's not
writing a play about school from the eyes of a
of an adult who's watching news about school shootings. Yeah,
she's just talking to She's talking to people that are there.
And it is very evident in the text of that
if you are a young LATINX person. There are killer

(57:25):
monologues in here. There's a character named Erica who has
a monologue at the end about the American Dream for immigrants,
and it's an essay that she wrote for class and
it's gorgeous. It's one of my favorite monologues ever. It's
so so good. Also, Gail has a really great closing
monologue too, about being a LATINX like young girl in school.
It's really really wonderful. Militia Ortiz so good. The next

(57:48):
person I want to talk about, Eleana Romero Boom has
found her plays is she found her plays in an
uncharted life. Eleana saw Disneyland with King zululand when he
and his entourage stayed with her family on what the
heck Oh, I started reading something that didn't make a
lot of sense. I was like, wait, yeah, I don't

(58:08):
know what this is. I'm going as fast as I can, Okay.
And the whole reason why is because I I've been
talking for so long. It's it's it's it's a talkie season.
I know it is, it is okay.

Speaker 3 (58:19):
Well.

Speaker 1 (58:19):
Rameria is an associate professor at the University of Arizona
and Tucson, their playwright in residence at where a CC
Arizona Theater Company. Yeah. Eleanna also started something called her
last namee fromera called Romero Fast that features her work
at theater nationally and internationally.

Speaker 4 (58:38):
That's kind of like literally she started only called Romero Fast,
called Borak Fast or Borak Palooza.

Speaker 1 (58:50):
Oh that's you thought of that just now? That was
really good. Thanks, dang dude. Yeah, she She's ran a
ton of really dope stuff.

Speaker 3 (58:58):
Wait can I change answer?

Speaker 1 (59:00):
Yeah, change it.

Speaker 3 (59:01):
In Saint Paul, there's this event on Grand Avenue called
Grand Old Day. Yeah, it'd be Grand Old Plays.

Speaker 1 (59:07):
That's good, and I have your name.

Speaker 3 (59:09):
I would just illegally tag onto that event because there's
already thousands of people out walking around drunk.

Speaker 1 (59:13):
I just like I liked reading Elaine stuff because like
all of the developmental history for I got a lot
of her plays on New Playtitch and this isn't a
dig at all, which is a lot of the first
development of history. That I thing is Romero Fest, which
is sick. It's like again, I think that's so that's
so cool to like create a fest where you can
like push and like produce and like create your own work.

(59:35):
That's so cool. Like you would think you would just
produce it, but you like screw it. I'm like, do
this weird cool thing myself, which I thought was sick.
But my play that I read of hers, which is great.
This is a play everyone should read. It's for free
on New Play Exchange. It's great. It's called The Dali
Lama is Not Welcome Here, a drama. That chronicle is
the tragic and complicated interconnection between a Chinese family scrambling

(59:56):
in the new economy and the American family who lost
their own child because of it. Active Chinese toy. Yeah,
so basically this like American. Yeah, I read it last week.
It's it's sad. It's wonderful. It looks at like a
racial like what racial bias is and like what how
tragedy can affect that, which is really really cool. It

(01:00:18):
is amazing monologues for American and Chinese actors so good.
It's it's just so much. There are some I thought
about you, and not because you're a bad person, but
because you've played racist white women in the past. There
are some past Erica, honestly current Erica if she's going
for roles like that crazy monologues in this play that

(01:00:39):
are really for Kate, that are like so emotionally broken
and so like super racist white women, but they have
a lot of meaning behind it because like, basically the
crux of the story is like there Kate and her
husband's kid just died because a toy like messed up,
like a Chinese, a toy like messed up and killed

(01:01:00):
the kid. And the only thing that Kate can connect
to that the last thing she saw was on the
toys has made in China. Yeah, so she blamed so
so then this Chinese family moves into their town and
is struggling to kind of make in some meat and
and has this little shop that a lot of the
play takes place in, and Kate blames these these people
for her kid's death. Yeah, like it's and it's so

(01:01:23):
hard for her to take that, Like her husband is
trying so desperately to be like, yo, it's it's we're
in a bad place, but this is not what you mean,
and she's like, yeah it is. These people did this
and it's so messed up, but it's an amazing play.
It's so good it hurts to read, but it's wonderful.
I left a review on New Play Change and all
I wrote was, oh my god, I love this play
just because I didn't know what the right I was like,

(01:01:45):
it was so good, but but yeah, it was awesome.
It was so so awesome. Also, I didn't realize this
till literally this morning. Elaine Romero is in Uh.

Speaker 3 (01:01:54):
It's in the tier It's Elaine or Eleana, Elaine, Elaine okay,
and they gave Elia.

Speaker 1 (01:01:59):
Yeah. Elina Marrow is in the TIERW catalog. They've been
published twice in the in the CHEERW Present Short Plays
two So yeah, there's some really really cool stuff in there.
The last one I'm going to talk about. Lizzie V,
a player from the Phoenix, Arizona, wrote a really cool
play called Moon called Monsoon Season. It was a cool
ten minute play that that Concord picked up in their

(01:02:22):
Off Off Broadway Simil French thing a couple of years ago,
and then she read a full length version of it. Oh,
she took a ten minute play and made it ninety minutes.
It's monsoon season in Phoenix, Arizona. A recently separated couple,
Danny and Juliet, are spiraling in the chaos. The romantic
comedy for a Toxic World comes alive with biting humor
and blinding inside. I wasn't able to read this. I
literally found it yesterday. It's I'll read a little bit

(01:02:44):
more about it. A strip club's flashing knee on sign
is keeping Danny awake at night, and Julia's adderall addiction.
It's only gotten worse since her dealer moved in. Danny
is suffering from micro blackouts and Julia keeps on seeing
a giant burden in her backyard. And as anyone watching
their kid, There's romantic Comedy for a Toxic World comes
a love with buding humor. But yeah, it's really cool.
The premiered at Rattlestick in New York and and Lizzy

(01:03:08):
V seems freaking rad. They haven't like their websites like
awest when We'll see it on. They got their BA
from Brown, then their NFA from Brown as well. They
have written a bunch of plays like The Loneliest Number.
They have done a lot of really cool stuff. I
think they're based in New York right now, but they
are doing really really cool shit.

Speaker 3 (01:03:28):
Nice.

Speaker 1 (01:03:28):
So Lizzie v Elaine, Ramiro, Mila Ortiz, and Harry Clark.
Those are the players i'd recommend from Arizona. Arizona Theater Company,
Freaking Southwest Shakespeare Company, and the Phoenix Theater Company are
the theater companies that you should check out that are
really really cool. And Arizona has a really really cool

(01:03:50):
theater scene. It's very like LATINX Base, which I think
is awesome. Yeah, and it's very like I think because
it's on the border of Mexico and it's it's near CALIFORNI. Yeah,
it's in that Southwest area. They have a lot of
really cool voices there, and they support a lot of
really cool voices. Yeah.

Speaker 3 (01:04:07):
It seems very dedicated, which is great.

Speaker 1 (01:04:09):
Yeah, which is awesome. But but yeah, that's Arizona. That's Arizona.

Speaker 3 (01:04:13):
That's so much of that was new to me.

Speaker 1 (01:04:14):
So that was cool. I know I talked for so long.

Speaker 3 (01:04:17):
Well do you want to talk a little bit longer?

Speaker 1 (01:04:19):
Yeah?

Speaker 3 (01:04:20):
Well I best you.

Speaker 1 (01:04:21):
Yeah, just all right, let's lay one down. Uh huh.
This is play disease to choose and a lie six
to a lie.

Speaker 3 (01:04:40):
And tell lies about the states, talking about.

Speaker 1 (01:04:47):
This is the one. This is the one that's right.
It's time for the lie.

Speaker 3 (01:04:58):
There's five other versions of that that are equally as good.

Speaker 1 (01:05:01):
If you can believe it, you'll never hear them.

Speaker 3 (01:05:03):
All right, are you ready?

Speaker 1 (01:05:04):
Justin I'm born ready?

Speaker 3 (01:05:05):
All right? Two of these things are true.

Speaker 1 (01:05:07):
I cannot wait.

Speaker 3 (01:05:08):
One is a lie.

Speaker 1 (01:05:09):
I'll know it immediately. I did really good research.

Speaker 3 (01:05:13):
Arizona is home to a national park.

Speaker 1 (01:05:17):
It is the Is that the whole fact?

Speaker 3 (01:05:19):
Nope, it's the old Uh. It's the Petrified Forest National
Park and it's estimated to be two hundred million years old.

Speaker 1 (01:05:28):
Okay, so sit on, sit with that, Okay.

Speaker 3 (01:05:31):
Joaquin Phoenix is from there. People think that's why he
got his stage name, he and his brothers. But it's
not like anything he's talked about.

Speaker 1 (01:05:41):
Okay.

Speaker 3 (01:05:43):
Arizona doesn't observe daylight savings time like time change.

Speaker 1 (01:05:48):
I think it's the I know the Petrific the Petrified
Force is real because I did. I saw that when
I was looking at the Green Canyon stuff.

Speaker 3 (01:05:56):
Do you think everything I said is true?

Speaker 1 (01:06:00):
Walking Phoenix one sounds dumb.

Speaker 3 (01:06:04):
Does it sound dumb? It does sound dumb, kind of like,
what was the one that you got your last time?

Speaker 1 (01:06:09):
Oh? What was the one? Tatum?

Speaker 3 (01:06:13):
Mm hmmm, so think about it.

Speaker 1 (01:06:15):
What was the last one?

Speaker 3 (01:06:17):
Arizona doesn't observe daylight saving time?

Speaker 1 (01:06:20):
That can't be true.

Speaker 3 (01:06:21):
Don't you're stop clicking around?

Speaker 1 (01:06:23):
What are you doing? What are you I'm googling it
to do that. I wanted the answer that's not the game. No,
I'm clicking. I wanted the answer. No, I'm looking, I'm
checking it.

Speaker 3 (01:06:33):
You have to guess before you click around.

Speaker 1 (01:06:35):
All right, fine, you already clicked. No, I really didn't look.

Speaker 3 (01:06:38):
Show me your screen.

Speaker 1 (01:06:39):
Literally, it's this, all right?

Speaker 3 (01:06:41):
Which one's to lie?

Speaker 1 (01:06:42):
I think? I think it's walking Phoenix? Is it walking out?

Speaker 3 (01:06:45):
Your final answer? Yeah, yeah, just Phoenix.

Speaker 1 (01:06:50):
No.

Speaker 3 (01:06:51):
I just wanted to mentally messy because it's like to
do one that sounds just like really random and untrue, because.

Speaker 1 (01:07:00):
Will think Cleen a minute, that's what I was thinking.
I was like, that's but here's the thing. Like if
I had a stage name, it would be Justin Cleveland.
So like.

Speaker 3 (01:07:09):
Justin here's Justin Cleveland goes hard.

Speaker 1 (01:07:12):
Justin Cleveland goes hard.

Speaker 3 (01:07:13):
No, Arizona doesn't observe daylight saving time. The members of
the Navajo Nation do, but like they just don't do
time change. They're just like we're just not doing it.

Speaker 1 (01:07:21):
Erica Iowa goes hard to. I don't like that, Erica Iowa.

Speaker 3 (01:07:24):
It's too it's too much.

Speaker 1 (01:07:27):
I like that.

Speaker 3 (01:07:27):
My name is for them is Da Da?

Speaker 1 (01:07:28):
Do I like that? Anyway?

Speaker 3 (01:07:36):
Thank you for listening. You know Juaquin Phoenix is from
tell me because if he's from Phoenix, Arizona, I ruined
this bit.

Speaker 1 (01:07:45):
Wait, okay, wait, let me he's from Phoenix. Walkuan Phoenix?
Where's he from? Joaquin Phoenix is from Rio? Wait? Is
he actually from He's not from Arizona. Is he from
Puerto Ricoh? Okay?

Speaker 3 (01:08:06):
I was scared.

Speaker 1 (01:08:07):
Oh gosh, it could have been so bad, so bad
the episode. You guys should listen to the podcast. This
has been Arizona. Next week is Arkansas. Yeah, it's Arkansas.

Speaker 3 (01:08:20):
I'll be taking on Arkansas. You're gonna love it.

Speaker 1 (01:08:23):
So so fun? Yeah, thank you. So let'sen to make sure.
Follow us on Instagram at Justin Borrick, at actual Erica Koon.
Follow me on TikTok at Mediocre Jokes and follow me
on Instagram or follow me on YouTube at justin Borak.
Check out our or if you have anything you want
to say about your state. If you have anything you
want us to shout out, email us or d m
us on Instagram or do email us at play the
Z Podcast at gmail dot com. That's play a Z

(01:08:44):
Podcast at gmail dot com. I don't forget to rate,
review and subscribe to the show. Oh, if you want
to read our stuff, we're on New play Exchange h
read Kill the Bird. Eric is playing on there. I
have a bunch of stuff on there as well, so
reading my stuff too. And yeah, Ghost the Theater if
you're in Arizona, the Arizona Theater Company, the Phoenix Theater Company,

(01:09:04):
Southwest Shakespeare Company are doing really really dope stuff. But
you'll try to see as much theater as you can
to meet us in the rush line. Meet us in
the rush meet us in the rush line. We'll see
you there. But uh, but yeah, I'm gonna end this
episode the way I end every episode by looking at
my best friend and her blah blah, whoa Jesus, I
give a hard a hard whip SnapLock and I'm gonna say,

(01:09:27):
Eric Kuton, I love you so much. I love you
so much. Good Bye.

Speaker 2 (01:09:35):
H

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Arizona - Arizona Theatre Company, Southwest Shakes, and Arizonian Writers!