March 10, 2026 • 14 mins
Interview with Sierra Boggess - On the Phone with David Serero - The Culture News
Listen
Watch
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Ladies and gentlemen, Good afternoon, Welcome on the Culture News.
My name is David Serbro, and I have the pleasure
to have today on iHeartRadio, the one and only. She's
Broadway Royalty, She's theater Royalty. She's the queen. There's no
one above her. She is the greatest. She is absolutely amazing.
(00:22):
She's bringing Broadway to a whole new audience. She has
her youth, her passion, and of course God's given talent.
I'm talking, of course about Sierra Bogaz. Sierra, how are
you today?
Speaker 2 (00:39):
Oh my gosh, I'm so good, what a beautiful intro.
Speaker 3 (00:42):
Thank you.
Speaker 1 (00:43):
Of course, I'm not gonna mention that you wrote the
script for me.
Speaker 2 (00:46):
Okay, okay, yeah, please don't, please don't.
Speaker 3 (00:48):
That's our secret.
Speaker 1 (00:50):
That's our secret. No, of course, you know. I don't
even write the things. It's so spontaneous because you inspire
us for greatness, and that's who you are. You are
solutely wonderful. So again, congratulations for all the great things
you've done in your career. And you're such an inspiration.
You're wonderful, and you're coming to us again with this
(01:11):
beautiful new piece. So I have a lot of questions.
You know this new piece called Monte Cristo, a new
musical by Peter Kellogg and Stephen Weiner. This is starring you,
of course, Adam Jacobs, James Juddy nom Lewis will love him,
you know, and a lot of wonderful others, great performer.
(01:33):
This is at the York Theater, which is actually at
the Theater at Saint Jeans and it is opening March nineteenth.
That will be there to applaud you, and you can
buy the tickets York Theater dot org. This is a
limited off Broadway engagement. So the first question, my dear Sierra,
how that project was brought to you and what made
(01:55):
you jump on it?
Speaker 2 (01:56):
Oh, I'm really really excited about is when I just
have to say really excited. I don't think there's been
a musical like this, type of sweeping romantic, I mean,
in decades. It's really is the kind of musical that
made me want to do this for a living.
Speaker 3 (02:16):
You know.
Speaker 2 (02:18):
It's like a Les Miz and a phantom and it's
just high romance and high drama and it's I just, oh,
I love it so much. What drew me to it
is all the way back now almost twenty years ago,
when I was doing Mermaid, I met Peter and Stephen
who wrote this, and they had written a show called
(02:39):
The Rivals and I was doing readings and workshops for
them for that. So that was my introduction to them.
And I think they are just an extraordinary creative team
in terms of music and lyric and book. They're so smart.
Stephen writes the way that I just naturally want to sing.
(03:00):
It's not difficult to feel his music. It's like, uh,
it's like a comfortable armchair. And Peter has some of
the most intricate and I don't know, I see this
is why I'm not a writer, because it's like his
(03:21):
words are. They're really really interesting and intricate. So I
once I knew that Monte Cristo was happening, I knew
about this. They've been working on this. I don't know
they would say, but for sure how long, But I
feel like maybe a decade because I did a workshop
(03:42):
for them like probably ten years ago. And then you
know how these things are new musicals for people who
don't know. It's like when a new musical finally hits
the stage, it's been in development for so many years
and so it's like it really is like birthing a baby.
(04:04):
And I just knew as soon as I heard this
music once again, I was like, oh my god. And
then you hear this music paired with this particular story,
which is such a In my time of working on this,
it's like, I didn't realize how many people really love
this story of Count of Monte Cristo, and I understand
(04:24):
why it's so strangely timely in this day and age.
I mean, Peter wrote these lyrics and adapted this book,
but years ago and now what we're living through a
bit in today's society. It's like, wow, the parallels between
eighteen fifteen in France, It's like, how can this be?
Speaker 1 (04:48):
You know?
Speaker 2 (04:48):
So it's really fascinating, and it's so wonderful to be
a part of a project that is so timely. And
then again, like I was saying, the high romance of it.
And Adam Jacobs, who plays the Count, he and I
worked together one of my very first jobs out of
school and one of his also. We were on the
tour of Le Miz together, so we haven't worked together
(05:10):
since then, and of course I went on to be
Ariel and he went on to be Aladdin.
Speaker 3 (05:14):
So we've been joking that it's like.
Speaker 2 (05:16):
How a street rat and a mermaid come together in
this high romance. And of course everyone knows my history
with Norm Lewis and him playing my father and Mermaid
and then playing Phantom together, so it's just a really
beautiful reunion of Sorry, I could keep going, but I'm yeah.
Speaker 1 (05:36):
First of all, you have to know one thing, Sierrah,
this is your show. You have the king. You can
come any time. I can't rebrand them. It's not anymore.
I heart Radio is I Sierra Radio Show.
Speaker 3 (05:49):
Wow?
Speaker 1 (05:50):
Wow, he's you the queen. The queen has all the power,
and I'm your valet, and I'm so proud to be
you know. So you know I feel just with this interview,
I think I'm going to get my green card right away,
you know. Okay, yes, I'm so happy. I got a
few years ago. I'm so happy. But the thing I
(06:10):
wanted to ask you, so you mentioned friends, which is
my native country, you know, so I'm so proud you're mentioning.
But you have that thing with these great French European
also theater, because of course you were and Andrew Lloyd
Weber said you were his favorite Christine Dae by the way,
you were supposed to do Christine in French in Paris. Really,
(06:33):
I know, I know we were waiting for it, but
I hope it will, it will come back again. But
what do you like so much in these in these plots,
in these European stories that as you said, this beautiful
expression of yours you just said that he felt like
you were on an armchair. You know, what do you
like so much into these these plots that makes you
(06:56):
want to come back? And actually the question is is
it easier for you to jump on a role that
people know, like Christine Day or to start, like from
a role that nobody really knows, which is the one
of these great new upcoming musical Monte Cristo.
Speaker 2 (07:14):
So I'll answer that question first. Both have its own pressures.
When people already feel like they own a piece of material,
like a Phantom and a Christine, it's like that that
has its own pressure because of the level of expectation
of what they feel like it already should be, and
they already have their favorite and you know, and then
(07:35):
you're coming in and doing your interpretation, So that has
its own pressure. But I do love to walk into
a role that is like that, especially like a Christine
that's you know, you can have dreamed about it and
what it would be like to play and all those
kinds of things and how you're gonna put your spin
on it, and then but it is every actor wants
(08:00):
to create their own role so that you're the one
putting your stamp on it first, and then everyone is
hopefully feeling inspired and wanting to put theirs on. So
I do truly love to create from the ground up,
and this I have to say has been one of
the most collaborative rehearsal periods that I've ever been a
part of. Anyone who makes musicals or show, any type
(08:24):
of show. It's like the collaboration is such a huge
part of it and can really make or break the process,
especially for such a vulnerable art form. You know, we
have this incredible director named Peter Flynn. He and I
have never worked together before, and I am so I'm
just like, oh, I can't wait to work with him
again and again and again. He has made such an
(08:45):
environment that is conducive to creativity and so open to
ideas and different things. If I come in and I'm like,
I lost sleep last night, because I just feel like
my character would do this for this and he's so
welcoming to that, and and then the writers as well,
(09:07):
like this is just a very unique process. So that's
the answer to that the first part. Norman and Adam
and I were just talking about this the other day.
They were like, why have we all? We've done basically
three shows between the three of us of that takes
place in France, with with ley Miz and with Phantom,
(09:29):
and now with this.
Speaker 1 (09:31):
Maybe you should move to Paris also, you know.
Speaker 2 (09:34):
I tried, though didn't I I tried and then the
theater off Lombay, So no, I know, I do think,
especially being an American, it's like, I, I know, so
many of us have just a deep fascination with Europe.
I think I have, you know, past lives there for sure.
(09:55):
Every time I go to London even I'm just like, oh,
I'm I know that I was here in another life time.
But Europe is so special and it's old, you know,
it's so so old, whereas this country is such a
new country, so there is so much history and so
many more ghosts. I feel like, yeah, so it's like
(10:16):
it's just more magical and so it is no accident
that I think these dramatic, sweeping, intense love stories all
take place in Europe.
Speaker 3 (10:28):
There's no accident to me, and I will say.
Speaker 2 (10:31):
This particular story, it's like, oh my god, it flushes
out so much that I've been through in my life,
and people who are going to see it are going
to feel that even though it's takes place in eighteen
fifteen and then over a course of twenty years, actually
in this piece you see yourself.
Speaker 3 (10:51):
In one of these characters.
Speaker 2 (10:53):
There is you know, survival, and there is greed, and
there is deep love and longing and love lost and
then how you just find hope when it feels hopeless.
Speaker 3 (11:05):
And oh there's gas lighting. Like there's a lot of
gas lighting.
Speaker 2 (11:11):
There's a lot of like modern day themes of like
really intense relationships.
Speaker 3 (11:17):
And oh my god.
Speaker 2 (11:18):
I could go on and on.
Speaker 1 (11:19):
We will be there definitely to applaud you. So it
plays from March twelve, which is after tomorrow, yes, yes,
and until April fifth. Something that's telling me is going
to go to Broadway, you know. So, but I'm very
happy you mentioned the director Pill Flynn, choreography Marcos Santana,
(11:40):
and music director and orchestration, David Hancock Turner, and of
course Peter Kellogg for book and lyrics and music Stephen Weiner.
So last question, because I know this is your lunch break,
so I don't want to take too much of your time.
Last question, Sierrah. Yes, when you decide go on for
(12:00):
a new musical, a new play, a new project, you
have the script, you have the music score, how you
work as an actress as a singer begins.
Speaker 2 (12:14):
Oh, if it's a brand new piece and it's a musical,
I listen to the music first. I need to know
what the music sounds like, what the type of vibe is.
So first I listen to the music, and then I look,
and then I read the story. And once I'm in
the story, I am I am immediately connecting to something
(12:39):
in there. If this is a piece that I've chosen,
it's like, oh, I understand how to play this.
Speaker 3 (12:44):
I have something to say.
Speaker 2 (12:45):
For this character, because I always believe it's like we
as artists get to be the ones that are helping
tell that character story. So I feel suddenly this like
responsibility of what do I use in my life has
occurred that is connecting me to this in this case,
Mercedes story that I need to be the one that
(13:06):
is helping her get her story out. It's almost like
she's like a ghost that I want to bring back
to life so that she gets a chance for her
story to be told. Yeah, it's kind of a spiritual
experience for me. So that is, and it's no different
(13:27):
from what this one is. I feel really really lucky
and responsible to tell Mercedes story.
Speaker 1 (13:35):
Well, we are very lucky. We're the luckiest one to
actually watch you and applaud you, and it's always a
blessing to have you. I want to thank a. Katie
Rosen for putting this together, and of course all the
wonderful team of the York Theater, which is really where
these days new musicals are taking life. And of course
(13:58):
the one and only the Queen. I said the Queen.
She is the Queen sierraa bogus good to check her out,
of course, listen to her wonderful singing and go to
the theater starting March twelfth, April fifth. How do you
feel now? You feel excited?
Speaker 3 (14:16):
I'm really excited.
Speaker 2 (14:17):
We're at crunch time, we got tech and where you know,
we have a final dress tomorrow and then it's time
to bring.
Speaker 3 (14:24):
In the audience.
Speaker 1 (14:25):
We need our next character exactly and we cannot wait. Sirea,
it's an honor having you. God bless you more than
he already has.
Speaker 3 (14:35):
Oh, thank you you too, thank you so much.
Speaker 1 (14:38):
It's an honor.
Ladies and gentlemen, Good afternoon, Welcome on the Culture News.
My name is David Serbro, and I have the pleasure
to have today on iHeartRadio, the one and only. She's
Broadway Royalty, She's theater Royalty. She's the queen. There's no
one above her. She is the greatest. She is absolutely amazing.
(00:22):
She's bringing Broadway to a whole new audience. She has
her youth, her passion, and of course God's given talent.
I'm talking, of course about Sierra Bogaz. Sierra, how are
you today?
Speaker 2 (00:39):
Oh my gosh, I'm so good, what a beautiful intro.
Speaker 3 (00:42):
Thank you.
Speaker 1 (00:43):
Of course, I'm not gonna mention that you wrote the
script for me.
Speaker 2 (00:46):
Okay, okay, yeah, please don't, please don't.
Speaker 3 (00:48):
That's our secret.
Speaker 1 (00:50):
That's our secret. No, of course, you know. I don't
even write the things. It's so spontaneous because you inspire
us for greatness, and that's who you are. You are
solutely wonderful. So again, congratulations for all the great things
you've done in your career. And you're such an inspiration.
You're wonderful, and you're coming to us again with this
(01:11):
beautiful new piece. So I have a lot of questions.
You know this new piece called Monte Cristo, a new
musical by Peter Kellogg and Stephen Weiner. This is starring you,
of course, Adam Jacobs, James Juddy nom Lewis will love him,
you know, and a lot of wonderful others, great performer.
(01:33):
This is at the York Theater, which is actually at
the Theater at Saint Jeans and it is opening March nineteenth.
That will be there to applaud you, and you can
buy the tickets York Theater dot org. This is a
limited off Broadway engagement. So the first question, my dear Sierra,
how that project was brought to you and what made
(01:55):
you jump on it?
Speaker 2 (01:56):
Oh, I'm really really excited about is when I just
have to say really excited. I don't think there's been
a musical like this, type of sweeping romantic, I mean,
in decades. It's really is the kind of musical that
made me want to do this for a living.
Speaker 3 (02:16):
You know.
Speaker 2 (02:18):
It's like a Les Miz and a phantom and it's
just high romance and high drama and it's I just, oh,
I love it so much. What drew me to it
is all the way back now almost twenty years ago,
when I was doing Mermaid, I met Peter and Stephen
who wrote this, and they had written a show called
(02:39):
The Rivals and I was doing readings and workshops for
them for that. So that was my introduction to them.
And I think they are just an extraordinary creative team
in terms of music and lyric and book. They're so smart.
Stephen writes the way that I just naturally want to sing.
(03:00):
It's not difficult to feel his music. It's like, uh,
it's like a comfortable armchair. And Peter has some of
the most intricate and I don't know, I see this
is why I'm not a writer, because it's like his
(03:21):
words are. They're really really interesting and intricate. So I
once I knew that Monte Cristo was happening, I knew
about this. They've been working on this. I don't know
they would say, but for sure how long, But I
feel like maybe a decade because I did a workshop
(03:42):
for them like probably ten years ago. And then you
know how these things are new musicals for people who
don't know. It's like when a new musical finally hits
the stage, it's been in development for so many years
and so it's like it really is like birthing a baby.
(04:04):
And I just knew as soon as I heard this
music once again, I was like, oh my god. And
then you hear this music paired with this particular story,
which is such a In my time of working on this,
it's like, I didn't realize how many people really love
this story of Count of Monte Cristo, and I understand
(04:24):
why it's so strangely timely in this day and age.
I mean, Peter wrote these lyrics and adapted this book,
but years ago and now what we're living through a
bit in today's society. It's like, wow, the parallels between
eighteen fifteen in France, It's like, how can this be?
Speaker 1 (04:48):
You know?
Speaker 2 (04:48):
So it's really fascinating, and it's so wonderful to be
a part of a project that is so timely. And
then again, like I was saying, the high romance of it.
And Adam Jacobs, who plays the Count, he and I
worked together one of my very first jobs out of
school and one of his also. We were on the
tour of Le Miz together, so we haven't worked together
(05:10):
since then, and of course I went on to be
Ariel and he went on to be Aladdin.
Speaker 3 (05:14):
So we've been joking that it's like.
Speaker 2 (05:16):
How a street rat and a mermaid come together in
this high romance. And of course everyone knows my history
with Norm Lewis and him playing my father and Mermaid
and then playing Phantom together, so it's just a really
beautiful reunion of Sorry, I could keep going, but I'm yeah.
Speaker 1 (05:36):
First of all, you have to know one thing, Sierrah,
this is your show. You have the king. You can
come any time. I can't rebrand them. It's not anymore.
I heart Radio is I Sierra Radio Show.
Speaker 3 (05:49):
Wow?
Speaker 1 (05:50):
Wow, he's you the queen. The queen has all the power,
and I'm your valet, and I'm so proud to be
you know. So you know I feel just with this interview,
I think I'm going to get my green card right away,
you know. Okay, yes, I'm so happy. I got a
few years ago. I'm so happy. But the thing I
(06:10):
wanted to ask you, so you mentioned friends, which is
my native country, you know, so I'm so proud you're mentioning.
But you have that thing with these great French European
also theater, because of course you were and Andrew Lloyd
Weber said you were his favorite Christine Dae by the way,
you were supposed to do Christine in French in Paris. Really,
(06:33):
I know, I know we were waiting for it, but
I hope it will, it will come back again. But
what do you like so much in these in these plots,
in these European stories that as you said, this beautiful
expression of yours you just said that he felt like
you were on an armchair. You know, what do you
like so much into these these plots that makes you
(06:56):
want to come back? And actually the question is is
it easier for you to jump on a role that
people know, like Christine Day or to start, like from
a role that nobody really knows, which is the one
of these great new upcoming musical Monte Cristo.
Speaker 2 (07:14):
So I'll answer that question first. Both have its own pressures.
When people already feel like they own a piece of material,
like a Phantom and a Christine, it's like that that
has its own pressure because of the level of expectation
of what they feel like it already should be, and
they already have their favorite and you know, and then
(07:35):
you're coming in and doing your interpretation, So that has
its own pressure. But I do love to walk into
a role that is like that, especially like a Christine
that's you know, you can have dreamed about it and
what it would be like to play and all those
kinds of things and how you're gonna put your spin
on it, and then but it is every actor wants
(08:00):
to create their own role so that you're the one
putting your stamp on it first, and then everyone is
hopefully feeling inspired and wanting to put theirs on. So
I do truly love to create from the ground up,
and this I have to say has been one of
the most collaborative rehearsal periods that I've ever been a
part of. Anyone who makes musicals or show, any type
(08:24):
of show. It's like the collaboration is such a huge
part of it and can really make or break the process,
especially for such a vulnerable art form. You know, we
have this incredible director named Peter Flynn. He and I
have never worked together before, and I am so I'm
just like, oh, I can't wait to work with him
again and again and again. He has made such an
(08:45):
environment that is conducive to creativity and so open to
ideas and different things. If I come in and I'm like,
I lost sleep last night, because I just feel like
my character would do this for this and he's so
welcoming to that, and and then the writers as well,
(09:07):
like this is just a very unique process. So that's
the answer to that the first part. Norman and Adam
and I were just talking about this the other day.
They were like, why have we all? We've done basically
three shows between the three of us of that takes
place in France, with with ley Miz and with Phantom,
(09:29):
and now with this.
Speaker 1 (09:31):
Maybe you should move to Paris also, you know.
Speaker 2 (09:34):
I tried, though didn't I I tried and then the
theater off Lombay, So no, I know, I do think,
especially being an American, it's like, I, I know, so
many of us have just a deep fascination with Europe.
I think I have, you know, past lives there for sure.
(09:55):
Every time I go to London even I'm just like, oh,
I'm I know that I was here in another life time.
But Europe is so special and it's old, you know,
it's so so old, whereas this country is such a
new country, so there is so much history and so
many more ghosts. I feel like, yeah, so it's like
(10:16):
it's just more magical and so it is no accident
that I think these dramatic, sweeping, intense love stories all
take place in Europe.
Speaker 3 (10:28):
There's no accident to me, and I will say.
Speaker 2 (10:31):
This particular story, it's like, oh my god, it flushes
out so much that I've been through in my life,
and people who are going to see it are going
to feel that even though it's takes place in eighteen
fifteen and then over a course of twenty years, actually
in this piece you see yourself.
Speaker 3 (10:51):
In one of these characters.
Speaker 2 (10:53):
There is you know, survival, and there is greed, and
there is deep love and longing and love lost and
then how you just find hope when it feels hopeless.
Speaker 3 (11:05):
And oh there's gas lighting. Like there's a lot of
gas lighting.
Speaker 2 (11:11):
There's a lot of like modern day themes of like
really intense relationships.
Speaker 3 (11:17):
And oh my god.
Speaker 2 (11:18):
I could go on and on.
Speaker 1 (11:19):
We will be there definitely to applaud you. So it
plays from March twelve, which is after tomorrow, yes, yes,
and until April fifth. Something that's telling me is going
to go to Broadway, you know. So, but I'm very
happy you mentioned the director Pill Flynn, choreography Marcos Santana,
(11:40):
and music director and orchestration, David Hancock Turner, and of
course Peter Kellogg for book and lyrics and music Stephen Weiner.
So last question, because I know this is your lunch break,
so I don't want to take too much of your time.
Last question, Sierrah. Yes, when you decide go on for
(12:00):
a new musical, a new play, a new project, you
have the script, you have the music score, how you
work as an actress as a singer begins.
Speaker 2 (12:14):
Oh, if it's a brand new piece and it's a musical,
I listen to the music first. I need to know
what the music sounds like, what the type of vibe is.
So first I listen to the music, and then I look,
and then I read the story. And once I'm in
the story, I am I am immediately connecting to something
(12:39):
in there. If this is a piece that I've chosen,
it's like, oh, I understand how to play this.
Speaker 3 (12:44):
I have something to say.
Speaker 2 (12:45):
For this character, because I always believe it's like we
as artists get to be the ones that are helping
tell that character story. So I feel suddenly this like
responsibility of what do I use in my life has
occurred that is connecting me to this in this case,
Mercedes story that I need to be the one that
(13:06):
is helping her get her story out. It's almost like
she's like a ghost that I want to bring back
to life so that she gets a chance for her
story to be told. Yeah, it's kind of a spiritual
experience for me. So that is, and it's no different
(13:27):
from what this one is. I feel really really lucky
and responsible to tell Mercedes story.
Speaker 1 (13:35):
Well, we are very lucky. We're the luckiest one to
actually watch you and applaud you, and it's always a
blessing to have you. I want to thank a. Katie
Rosen for putting this together, and of course all the
wonderful team of the York Theater, which is really where
these days new musicals are taking life. And of course
(13:58):
the one and only the Queen. I said the Queen.
She is the Queen sierraa bogus good to check her out,
of course, listen to her wonderful singing and go to
the theater starting March twelfth, April fifth. How do you
feel now? You feel excited?
Speaker 3 (14:16):
I'm really excited.
Speaker 2 (14:17):
We're at crunch time, we got tech and where you know,
we have a final dress tomorrow and then it's time
to bring.
Speaker 3 (14:24):
In the audience.
Speaker 1 (14:25):
We need our next character exactly and we cannot wait. Sirea,
it's an honor having you. God bless you more than
he already has.
Speaker 3 (14:35):
Oh, thank you you too, thank you so much.
Speaker 1 (14:38):
It's an honor.
Popular Podcasts
Hey Jonas!
Hey Jonas! The official Jonas Brothers podcast. Hosted by Kevin, Joe, and Nick Jonas. It’s the Jonas Brothers you know... musicians, actors, and well, yes, brothers. Now, they’re sharing another side of themselves in the playful, intimate, and irreverent way only they can. Spend time with the Jonas Brothers here and stay a little bit longer for deep conversations like never before.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com