ELYSA GARDNER: Welcome to Stage Door Sessions by Broadway Direct. In this podcast, we have in-depth conversations with Broadway’s brightest, bringing you what’s new, what’s noteworthy, and what’s coming next to a stage near you. I’m your host, Elysa Gardner, and this spring, we will be speaking with some of the artists whose talents are standing out at a very busy time in a very busy Broadway season. Before our conversations with each week’s guests, this season we will be kicking off every episode with a look at what’s new on Broadway each week with Broadway Direct’s own Paul Art Smith. Paul, are you there?
PAUL ART SMITH: I’m there, hello, how are you?
ELYSA GARDNER: Good, how are you?
PAUL ART SMITH: Doing well, doing well, it’s a very busy time on Broadway, but that’s just how we like it.
ELYSA GARDNER: The busiest, it’s like December in Hollywood right? You know everybody wants – It’s the big like pre-award nominations rush.
PAUL ART SMITH: Right, everyone’s fitting everything in, and yeah, seeing all the latest shows but before we get into some of the latest openings I’ll go ahead and look take a look at this week’s news. So big news about going into the film category a little bit, Waitress will be premiering at the Tribeca Film Festival. So this is the live recorded version of Waitress starring Sara Bareilles. It was speculated that it was being filmed when it returned in the fall of 2021. It was one of the first musicals back actually after the shutdown. And people had an inkling that it was being filmed but this is the first time it’s been like officially announced in a press release and all and it’ll premiere this summer at Tribeca Film Festival in New York and I can’t wait I mean I love the musical, love Sara Bareilles, I think this is really going to be something special.
ELYSA GARDNER: Yeah, yeah, it’s a big deal, directed by Brett Sullivan and Diane Paulus who of course helmed the Broadway production. And I think the book’s writer Jesse Nelson served as the film’s creative advisor. So you know the same team on board including Barry and Fran Weissler who produced the production.
PAUL ART SMITH: Yes, yes, I know and it’s interesting because in the past with like Diana which already had like Netflix onboard or sort of attached to it and I believe Come From Away also had Apple TV+ attached to it, this doesn’t seem to have like a big streamer behind it so it’ll be interesting to see where the Tribeca Film Festival could take this to – theaters or to some kind of network– so I’m sure it’ll be making a big splash.
ELYSA GARDNER: Yeah, oh it would be great to see it in theaters on the big screen. I mean I’m a huge streamer myself but there is something to be said for you know that not just the big screen itself but the communal experience that you have when you’re in a live theater, you know, you’ll have not exactly that but some simulation of it perhaps in in a movie theater.
PAUL ART SMITH: Definitely, yeah. I mean I’m sure at the Tribeca Film Festival the audience is gonna be filled with like fans and lovers of the show so it’ll be definitely electric. And now we also have some more news about the next season I know we’re still in this present season but news keeps on coming from the 2023-2024 season. So coming to Broadway this summer, as we know, Here Lies Love will be opening at the Broadway Theatre and we now have our star. Arielle Jacobs will be starring as Imelda Marcos. This musical has had a long road to Broadway, I think it premiered almost a decade ago Off-Broadway, you actually had a chance to see it, right?
ELYSA GARDNER: I did, I did it was a lot of fun. I mean it was very interactive. I believe the way the seating is being done on Broadway, you have your choice of whether or not you can be one of those people who one of the cast members sort of prods to dance with them.
PAUL ART SMITH: Yeah.
ELYSA GARDNER: Which actually happened to me and I was covering it as a critic [laughter], but no I saw it with Ruthie Ann Miles who was just spectacular in the role, that was like a breakout role for her, I believe and you know Arielle Jacobs is is ah joining the cast as Imelda and she’s got tons of experience from In the Heights, Wicked, Aladdin, High School Musical, so, you know, maybe it’ll be a breakout role for her as well.
PAUL ART SMITH: I know, I’m excited to see this turn from her I actually got to see her Off-Broadway in Between the Lines last summer and she was just, you know, so charming in that so I can’t wait to see her take on this role that’s – I have not been able to see the show yet but I will be there and I hear this role is like quite an intense role so it shall be exciting to see and yeah, the seating there is unlike anything that Broadway has seen before. I feel like maybe like the closest comparison is like Great Comet, but even then like it sounds like it’s gonna be something that is just so one of a kind and unique and will definitely be taking Broadway by storm.
ELYSA GARDNER: And it’s great that they’re giving you know giving us a sort of heads up about you know here’s your options. You don’t necessarily have to so if you’re shy and you don’t want to be kind of reeled into the action, you don’t have to do that necessarily.
PAUL ART SMITH: Yeah, they very clearly outlined all the different seating options, so it’ll be – you know if you want to be part of it you can stand with the actors, if you don’t want be part of it, you know the rear mezzanine is always there and it looks like it’s like a great view from there as well so it shall be a very interesting experience.
ELYSA GARDNER: If you’re an introvert you can still enjoy the show.
PAUL ART SMITH: [Laughter] Definitely and Elysa, you actually had the chance to break some news about 54 Below this week in The New York Times.
ELYSA GARDNER: Yes, it is becoming a nonprofit after 11 years in operation and of course, 54 Below is a hugely popular forum for Broadway stars as well as rising performers and composers, you know they do a lot of stuff with lesser-known shows, with anniversaries, with theme shows that can focus on pop music or cult musicals. Yeah, they have a whole bunch of stuff going on there and, you know the owner, one of the owners, when I spoke with him admitted they’ve been struggling a little financially as a lot of places have been but they also have certain artistic ambitions. More diversity, by diversity I mean in every sense of the word. The types of artists you know, gender, race, everything. And they just want to create some artist subsidies, ticket subsidies. So we’ll see how it goes.
PAUL ART SMITH: Yeah, I’m excited to see what changes are made and if any at all but like it should be an interesting experience especially because as you said it’s been such a great space for cabaret acts, for rising stars, and I’ve been able to go plenty of times and it’s just always an exciting space.
ELYSA GARDNER: It is and it’s interesting what you say about changes because yes, it will be interesting because I get the sense and I could be wrong that it’s going to be more of an evolution that they’re going to be kind of going in this direction that they’ve been going in but will have maybe more liberty to do so with funding coming from – they’re hoping for you know, big and small donors. They put a board together. So like I said we’ll see, you never know with these things but they certainly have a lot of good will on their side. A lot of artists love that house and it’ll be interesting to watch.
PAUL ART SMITH: Yeah, incredible. Can’t wait to visit that space again. And to wrap up this sort of news portion this week, if you need something to listen to, after this podcast, of course, you can head over to your streaming service and listen to Almost Famous. It’s the original Broadway cast recording and it did have a short life on Broadway so if you weren’t able to catch in that time you can relive some of the tunes. It has an incredible cast led by Casey Likes who’s going into Back to the Future this summer, you know, introducing Casey likes this show did, and then also the amazing Solea Pfeiffer who is just one of our brightest talents.
ELYSA GARDNER: Yeah, Solea Pfeiffer, I’ve seen her in several roles mostly like more traditional soprano roles and also Evita and that is a giant talent, a giant vocal talent and she proved in this production that she can be you know, funny and goofy and sexy as well. So well she was actually very sexy in Evita too.
PAUL ART SMITH: Yeah, no yeah I’ve been a fan of her for a while, I got to see her actually in West Side Story at the Hollywood Bowl which was like her first like I feel like major project so I feel like I sort’ve been like on this journey with her, watching her star rise and it’s so great to see her land on Broadway at last.
ELYSA GARDNER: Yeah, it’ll be interesting to see what she does next and she actually played Guinevere in the original workshop for what turned out to be the production of Camelot that just opened on Broadway recently. I would have loved to have heard that it was a benefit performance so I couldn’t go but I’m sure she was spectacular in that so she is definitely a star to watch and a voice to continue listening to.
PAUL ART SMITH: One hundred percent. As we mentioned earlier in the podcast, this is the busiest time on Broadway and so many plays are opening. Just this past week alone three opened on Broadway, one of them on Wednesday being Peter Pan Goes Wrong which actually Elysa and I ran into each other at the show.
ELYSA GARDNER: Not only did we run into each other, we sat right next to each other. We both had a lot of fun as did our companions, I brought my daughter.
PAUL ART SMITH: Yes, I brought my friend Emma and it was just – I told you my face was hurting from smiling. It’s just the most fun time.
ELYSA GARDNER: Yes, definitely a lot of fun.
PAUL ART SMITH: And then on Thursday, The Thanksgiving Play, which you’ll be hearing a lot about during this episode, opened at the Hayes Theater, and on Sunday Prima Facie opened at the Golden Theatre starring Jodie Comer and this is just fresh off of so many Olivier Award wins, won Best Play and Best Actress for Jodie Comer earlier this month so coming in with a lot of, you know, acclaim.
And new on the site this week we have a 5 Questions piece with Stark Sands of & Juliet, you know, he’s one of our great talents. This is his first time back on Broadway, I believe, since Kinky Boots so it’s great to see him back on stage playing William Shakespeare himself. And as always you can head to Broadway Direct for the latest coverage and news of this Broadway season as well as across all of our social platforms @BroadwayDirect.
ELYSA GARDNER: Well, thank you so much Paul and as Paul mentioned we are going to be speaking today with a couple of guests who are involved in one of the productions that just opened on Broadway. Our guests today are playwright Larissa FastHorse and director Rachel Chavkin who are collaborating on Larissa’s very much acclaimed play The Thanksgiving Play now running at the Hayes Theater.
The play which has already received wide praise for Off-Broadway, regional, and online productions, marks Larissa’s Broadway debut and makes her the first known female Native American playwright to be produced there, but she has been active as a playwright and choreographer for years and she’s also worked in film and been the recipient of a number of prestigious awards grants and fellowships. She is the co-founder of Indigenous Direction, a leading consulting company for indigenous arts and audiences.
Rachel is one of the most in-demand directors working today, as well as a writer and dramaturg. Her previous Broadway credits are Natasha, Pierre & the Great Comet of 1812, which earned her a Tony nomination for Best Director of a Musical, and Hadestown for which she won that award. She’s also worked extensively Off-Broadway, winning three Obie Awards and in regional theater and in London. And she’s artistic director of the Brooklyn-based company The Team. Rachel, Larissa, welcome to Stage Door Sessions. Thank you so much for joining us.
RACHEL CHAVKIN: Thanks for having us.
ELYSA GARDNER: Larissa, since this is your first Broadway production I’d love it if you could share a little bit of your backstory. I believe you started out as a ballet dancer and in terms of your heritage you grew up in South Dakota as part of the Sicangu Lakota nation. Maybe you can tell us a little bit about how these factors came to shape your artistic vision and direction. I mean I know that’s not something you can answer in 400 ah, rather 140 words or 400 words, but if you could give us just a little background.
LARISSA FASTHORSE: Yeah, yeah I did start my career as a professional ballet dancer and did that until I was almost 30, and then, hit that, you know, retirement age so young that ballet dancers do and then you realize wow I’m just about to turn 30 and I have a whole lot of life left and I don’t know what I’m going to do. So I was really fortunate that Career Transition For Dancers, which is now under Actors Fund but they were independent then, came into my life, I’m Los Angeles based, and they have an office there and they gave me career counseling to help me find my next path which was writing. I actually started in film and television first and I’m like the only writer in Los Angeles that left film and TV for theater and have been working very happily in theater for over a dozen years or more, more than a dozen years, and now have recently returned back to film and television again, fortunately for me right before the pandemic. But I think for sure you can see especially in this play how much my movement background affects my writing. I see things very much spatially. I am also very collaborative and really, this show especially is a director’s show. There’s a lot of movement sections that are written in the show where I really just kind of write in the storytelling of it but every director does them incredibly differently and I love that, I love that about space and movement and how much you can tell in a story in that way and so I think that’s definitely evident in all of my pieces.
ELYSA GARDNER: Yeah. Larissa, you’ve described this as a comedy within a satire and it focuses on a group of four people who’ve come together to create a Thanksgiving pageant for an elementary school that’s also celebrating Native American History Month. At what point did you become involved Rachel?
RACHEL CHAVKIN: I’ve known Larissa for probably over a decade now and have been a huge admirer of her work for years and I think at like the height of the pandemic she reached out about the fact that Second Stage was planning on programming the show and would I want to collaborate on it and I was totally over the moon about the thought of working together and she sent me the script because I had seen the production at Playwrights but I had never read the play. And I just could not – I mean I think I just devoured it in like one, you know, intense hour-long sitting, both just laughing and thinking, “Oh my god, this is fucking brutal.” In the best way, in the ways that certainly I come to the theater for to like get both knocked down and discomforted in how I think about the world and have that and then also have the humor hold me within that and get to go on this journey with these characters. So for me it was just like a very swift “Yes,” and. a delicious production process ever since.
ELYSA GARDNER: Yeah. I’m curious if the play, I mean I’m sure it’s evolved, but whether that evolution has been informed by changes in our cultural climate and conversation over the past few years because this was, I think you started developing it, Larissa, in 2015 there have been several productions since it ran Off-Broadway before COVID struck and there were regional productions, so how has it changed or evolved?
LARISSA FASTHORSE: Yeah, it’s changed a lot of ways. First off, you know, from the script side of it, I obviously did want to update it. So there’s a lot of references that are current to where we are now to the last few years of history are included. So a lot of topical things have changed and the way we refer to some new, well, issues that we’re all grappling with on how to talk about and how to deal with and how to what we should be thinking about and then, of course, the fantastic part about theater is that I have this new collaborator here that I’m working with Rachel and that together we can work on this together and create something very new. It obviously has to fulfill Rachel’s vision as a director and then you know that has been the last like year and a half of talking. But then there’s the size of the house and it being Broadway and making it feel like that size and that scope that you want a Broadway show to feel like. And then on top of all that then we added in all these amazing designers. We have such an incredible design team and it was so great to be in the room with them doing design meetings and coming up with ways to keep evolving the show so represents all these incredible artistic voices. And then finally, we got our actors and we have this incredible group of actors that are really collaborative and participatory and have such smart great ideas and have their own strengths in comedy and acting and so we’ve all been collaborating all the way through so it just keeps evolving every step of the way as we’ve been putting together this new production.
RACHEL CHAVKIN: And I can testify that Larissa is one of the most collaborative artists I’ve ever worked with and has just like helped create I think with our, I’m thinking about our actors in particular, but it’s come up with our design team as well just a place where people feel free to ask questions and like figure out – because I think what’s beautiful about the play is it’s actually, the jokes are clear but the right answer is not. So I think that has come up again and again in the rehearsal room while we’re working on this and it’s been, it’s just been a delicious kind of community Journey actually I would say working on the show.
ELYSA GARDNER: Yeah, it sounds a lot like life. No clear answers. Well tell me a little bit about the actors you have some wonderful names here you know people known to stage fans to TV fans. Since it was a collaborative process I’m gleaning from what you’re saying Rachel, how did you come to choose these particular actors to usher in this production?
RACHEL CHAVKIN: Oh my gosh, I mean I can say the cast is jaw-droppingly good.
LARISSA FASTHORSE: They really are.
They’re just like – them as craftspeople, as comic assassins is just extraordinary and I have to say like obviously we selected these folks after, you know, long diving into their bodies of work, and at the same time I don’t know that I could have imagined kind of how beautifully, touch wood, this foursome would work together and they each feel like such different instruments in terms of the kind of comic arsenal, so I think there’s a palpable feeling of different textures, some are like – yeah it’s quite beautiful.
LARISSA FASTHORSE: Yeah, and I’d say also I mean they’re all, I mean you’re fortunate with this type of casting. We don’t get to have them together beforehand and none of them knew each other and so we’re really fortunate they’re such an incredibly generous group of people, they’re – with each other, with the text, with, you know, the rest of the production. It’s really beautiful to watch and very touching for me as the writer who has my first play on Broadway to have such a generous group of actors that are you know I’ll have some reputation to think about and are really throwing everything behind this piece and being so excited and supportive and doing such incredible work.
ELYSA GARDNER: Yeah, we should say they are the two-time Tony Award winner Katie Finneran and Emmy nominees and well-known TV actors such as D’Arcy Carden, Chris Sullivan, Scott Foley so it’s a pretty phenomenal lineup.
LARISSA FASTHORSE: Yes, it really is.
ELYSA GARDNER: Rachel, I read that when Larissa ah first approached you you asked if she was sure she didn’t want to see a director of color. Clearly, she wanted you but how did your concerns and your obvious respect for what this material would demand affect your approach?
RACHEL CHAVKIN: Yeah I mean I think when I brought it up I was thinking about it, as I know Larissa was, very consciously on a couple fronts. One is of course job creation because every, you know, opportunity is an opportunity. And then the other is thinking about the critique within the work itself and one of the you know brilliant things that Larissa said and it was immediate was, “Well I need your expertise.” And it was, you know my expertise on whiteness as a white person who, and now I am at risk of directly quoting the show but I may as well go for it. A white person who has spent years and years thinking about my whiteness um and doing so in white constituency groups and also doing so in very racially diverse rooms. So I think it is like a combination of reflecting on that and making sure that, you know, there’s like a particular moment where two of the characters. zoom in on another character who’s a Native artist, we believe, and they are almost – there’s like a hunger that is really kind of frightening from them in terms of wanting to use this character story and co-opt it essentially and appropriate it and make it a part of the art they’re making. And I think, you know, that’s like a moment that is visible to me and I have watched it and witnessed it happened, and that knowledge at the same time doesn’t mean that there’s not then space in the process that we would make for Larissa or I thinking about Jeanette Harrison our amazing associate director who’s herself a Native artist to like be able to reflect on or fill in that experience which they have had personally which I have only been sort of a secondary witness to. So I think it’s trying to do, process-wise, it’s trying to do both. It’s not being shy about my expertise of like just having you know fucking shamefully been, I have probably said almost every single thing these characters say at different points in my life. And I hope I don’t do that now and also it’s real and so like in terms of the play calling up, calling forth both embarrassment and shame and then also sitting with you via humor in that difficulty and shyness which I think white people have to just keep getting over right in terms of our own resilience. I do that too, so that’s a very very personal experience in the show.
ELYSA GARDNER: Yeah, no I’ve read where you Larissa have spoken about the importance of including white people in this conversation and how there’s a danger of white people simply being well-meaning but not engaging in real dialogue. You know it’s it’s much easier to do that. I’m assuming that you and Rachel discuss this and I’m wondering how it was addressed by you in dealing with the actors.
LARISSA FASTHORSE: Yeah I mean, you know, and honestly Rachel’s carrying a lot, she’s our lone white person on the entire creative team [laughter]. So she’s she feels the way I usually feel when I’m in a theater and I’m the only Native American person but we have several people that identify from Native communities with us on the team in the theater here which is fantastic in different departments including creative. But yeah, it’s, you know, it’s something for sure that we’ve had a lot of discussions about in the room. The beauty I will say of working with these particular humans in our cast is that they care really deeply about everything this play is addressing and they care very deeply about their position in helping to tell this story in a way that can be heard and seen as well as being funny and so we’ve had a lot of discussion in the room. A lot of really deep fantastic discussions. I was like oh this is how – and we all were like oh – sometimes we will feel like we’re in the play and then we’re like, “Yeah but this is how it should go like we should be able to have these discussions,” and I think you know Rachel and I have both worked together in collaboration to be sure that this is a space where everything can be said. Everything can be asked. Everything can be put out there. Hard questions, hard moments, hard emotions. All those things can happen together so that we all feel comfortable and confident telling this story in the best way while also making it a fun night at the theater which is a tricky thing right? That’s a hard thing about doing a comedy in a satire you have to get both of those things right and it’s a constant calibration that we all work on together.
ELYSA GARDNER: Yeah, I love that description, a comedy within a satire. The world has changed a lot in the past five to ten years exponentially some would say but this is still the first play by a Native American woman that we know of to arrive on Broadway and I’m wondering if either of you ever worry that the progress that we have seen will be enduring or if it’s to some extent performative for that matter?
LARISSA FASTHORSE: I worry about it endlessly. Yeah, mean has the world changed that much I don’t know. Yeah, I don’t know, have people just become aware of what the world is like in a lot of ways, meaning white people, people of color always knew. Ad yes, there are more women and there are more people of color in some of these spaces like Broadway but yeah I worry about it constantly. You know the last known Native American playwright on Broadway is Lynn Riggs, that was in the first half of the last century. I mean it’s been a really freaking long time and so I, you know, desperately hope that I’m not the only one this century and then we have another one maybe in the next century. That’s not much progress that it takes, you know, whatever I can’t do math, 80 years or whatever between Native American playwrights on Broadway, that’s really no progress. I mean it is but it isn’t really so yeah, I’m constantly afraid of it and constantly worried that maybe we’re not going to get any farther. I would just I would agree since you ask both and just say like I worry about white fatigue and I think that’s actually a key theme in the play and in the last section of the play and it’s something that we’ve been discussing as we kind of figure out how to best land the play for 2023.
ELYSA GARDNER: Yeah, what sort of feedback have you gotten from Native audience members or any audience members for that matter that you found particularly meaningful or surprising or that stood out for you in their reactions to the material?
LARISSA FASTHORSE: The best feedback that I have gotten and what I would hope for is that I am still talking about the play tomorrow and that at breakfast the next day me and you know my friends me and my family we were still talking about it and asking questions and wondering and trying to come up with answers or even just wonder why and that’s the thing I I would love more than anything people to just leave this play wondering, “Why didn’t I know these things? Why was I never told these things before? Why are we not taught these things? Why is this the first time,” if it is, you know, “that I’ve heard a lot of these things?” and then start you know investigating because it’s one thing to look up some facts online or you know, I don’t know, whatever you do. Do folks go to the library still? I hope so my mom’s a librarian, and yeah, go to the library and learn some things but it’s another thing to change the systems of why we don’t know these things and why we have to find out about contemporary, indigenous experiences and indigenous history separate from the systems that we’re in here in America.
ELYSA GARDNER: And how has the play impacted you in your time working on it, Rachel? I mean it sounds like it’s been pretty revelatory. What in particular have you taken away from it, learned from it, had to think about more?
RACHEL CHAVKIN: Oh my gosh I mean I didn’t know this history, I knew so – I shouldn’t say that I knew some of the history before but there are definitely stories that come up within the show that were new to me. And then, I think just also the conversations that we’ve had through the making of it have been well A. I’ve peed myself a lot of times [laughed] from delight. But equally ah – I think actually particularly in an educational setting of like one of the things that Larissa and I have been talking about is all of the new laws that have come up around the debate of teaching about race and histories other than white histories in our elementary, middle school, and high school classrooms and you know what’s too often now gets called critical race theory. Not that there’s anything wrong with CRT, just that it’s like an inappropriate deployment of that term. Very very coded language in terms of thinking about, from white parents’ perspectives, what they’re willing to have their children exposed to and it’s the truth. And like those debates are happening now and they’re not just happening in Tennessee, they’re happening in school boards across New York state, they’re happening in New Jersey, and it’s huge and so like actually the urgency of the violence that is getting talked about and it’s the violence of erasure and the violence that’s literally being done to bodies still today in part because we’re unwilling as white people to look at and sit with and make practical changes from based on the truth of the history and the present day realities. It’s just like it’s huge and I think it’s – I think I have been moved personally by just the living urgency of all of that.
ELYSA GARDNER: Yeah. Well sort of a way of wrapping up, what is your hope that Broadway audiences will take away from this particular production of a play that is obviously very funny and very brutal and seems very necessary?
RACHEL CHAVKIN: I think it’s important first to keep in mind that Broadway audiences are not a monolith and I know actually I maybe I’m just teeing you up to talk about this more. but I’ve heard Larissa talk about how you can hear different parts of the audience respond to different parts of the story.
LARISSA FASTHORSE: Oh yeah, for sure. There’s certain jokes that draft after draft, production after production, people have been like “Well, I don’t know if everybody’s going to get that.” Like that’s okay, that joke isn’t for everybody. That joke is for my Native folk, that joke is for my BIPOC friends in general, and it’ll be funny because when that joke comes up in, you know, the first audience suddenly you’ll hear a group of Native people, Native American people over wherever in the house I’m like, “Oh there they are, now I know exactly where they are,” and everyone else will be like, “Oh wow, it is funny to them like, I didn’t get it.” Which is great because you don’t, you know, that’s part of life, right? You don’t get everything, you don’t have to get everything. Everything’s not for you and even if you’re white, everything’s not for you and that’s okay and it’s okay to have that and yet have it in a fun way that we get to enjoy being together. We get to enjoy coming to a theater together and laughing and having a great time. Everyone is made fun of I’d say in this show. Everyone has to look at themselves and laugh including myself as a Native American woman there’s things I’m like, “Uhh, why did I do that?” So there’s a lot of things in there for everybody but they’re you know, told like you know in a way that I hope people also get to have a good time and enjoy each other together.
ELYSA GARDNER: Yeah, and leave having a lot to talk about and a lot to think about once again. Once again, thank you so much for taking time out of your very busy schedules, I’m sure, to join us. We are all very much looking forward to this production.
LARISSA FASTHORSE: Great, thank you so much!
RACHEL CHAVKIN: Thank you so much, a pleasure.
ELYSA GARDNER: And for all things Broadway, and to find tickets to your next show, visit BroadwayDirect.com. If you liked our show please follow us on Apple Podcast or wherever you listen. And don’t forget to share and rate Stage Door Sessions so other theater fans can find us as well. This podcast is produced by Broadway Direct and the Nederlander Organization with Iris Chan, Erin Porvaznik-Wagner, and Paul Art Smith, and hosted and produced by me, Elysa Gardner. Thank you for listening, and we look forward to seeing you again on Broadway.
