In this latest episode, Jeff and Richie discuss the latest Broadway production of Tom Stoppard's new play LEOPOLDSTADT playing at the Longacre Theatre. Featuring a cast 30+ Actors, this chilling play takes Jeff & Richie's conversation to new levels as they discuss a difficult subject matter being portrayed on stage. This conversation includes thoughts on the play as a whole, as well as how important a play like this still is today.
*This podcast will include spoilers*
(Show was seen on Wednesday, October 5th, 2022)
If you liked this episode, don't forget to subscribe to this podcast and leave us a review.
Share your thoughts with us on this episode below:
On Instagram: @halfhourpodcast
On TikTok: @halfhourpodcast
On our website: www.twoworldsentertainmentllc.com
Richie [00:00:03] Half hour. Hello and welcome to Half Hour, an entertainment podcast through Two Worlds Wntertainment. I'm Richie.
Jeff [00:00:13] And I'm Jeff.
Richie [00:00:14] Here to bring you all the casual conversations on shows, musicals, movies, concerts and events that we see and observe throughout our careers. Today's episode will feature spoilers, so you have been warned if you would like to witness the piece that we are discussing today before listening on, you can do that. You can also listen on without having seen the piece. It is up to you, but there will be spoilers, especially about the ending of pieces. We talk a lot about how pieces end. If you want to know, go check it out. Today we are talking about the new Broadway play called Leopoldstadt, which is playing at the Longacre Theater in New York City in Manhattan. Leopoldstadt comes directly from London award winning piece and is a new play by Tom Stoppard. Tom Stoppard is, I believe, the most Tony winning playwright in history, in New York history, and he's won many Tony awards for many of his plays. This piece was directed by Patrick Marber, and it's, like I said, playing at the Longacre Theater right off the run in London, winning many Olivier Awards. They're coming here to wonderful reviews, a full audience. There was a lot of people there when we went. We went a couple of days after opening night, so it was really, really wonderful to kind of feel the energy of that piece and what an experience this was. Tell me some of your overall thoughts of seeing this and maybe a little bit about what you thought going in versus leaving, what you just overall thoughts of the piece.
Jeff [00:01:39] Here we go. Overall thoughts here. I knew nothing about this show going in, so I didn't know what to expect with this, especially from looking at the artwork, design, etc. But the young child playing it looks like Cat's Cradle, which we then later find out that it was Cat's Cradle. Yeah, but yeah, I didn't really know what to expect going into this show. I actually was thoroughly surprised that I enjoyed this show too as well. There was a lot going on and I really think that just to give everyone the context, this is a show about a family tree of Jewish people in Austria. So and it starts in, I believe, 1899 and it goes up until 1955. So we get to see 50 years of a Jewish family going through Austria and.
Richie [00:02:33] The changes that they went through and the difficulties that they had to face as a family.
Jeff [00:02:37] And I think that for me was portrayed really nice.
Richie [00:02:40] Yes, I totally agree. First of all, I haven't seen a play with this many people in a very long time. There was a lot of people in this play. When the first scene opens, I'm seeing this family in this living room. I'm like, Oh my gosh, how am I going to know who is who this whole time? There's so and you're only there for a little over 2 hours. There's no intermission. So you're looking at this and you're like, okay, I thought a piece together, people. But, you know, I think what Tom Stoppard does is I always think Tom Stoppard I read some of his pieces, I've seen some of his plays. I feel like he always he knows what the audience is going through and he's with you for the journey. He doesn't throw something at you and say, like, good luck. He says, I'm going to help you. I'm going to there's a lot of seats. My sister in law, my cousin, my mother, my grandmother, there's a lot of that and that kind of helps you, especially in that first scene. So that did really help, but it is really nice to see all ages of people as a real family up there, over the seemingly of real family, anywhere from the littlest of children, those little kids. Oh, my gosh. This one was so small all the way up to the elders and everyone in between. I thought that was really nice. So many times we see shows today where things are stripped down in small cast for budget costs. And this didn't hold back on that. There was there's I think there's over 40 people involved in the cast of this show. And that in and of itself, I found to be really wonderful. When you talked about going through the different time periods, I will say I really did enjoy this piece as a whole to think piece. It really makes you think and just observe and witness what was going on in history at this time. It is so tragic to see where this family started and where it ended. And we're only talking about 50 year time span. We're not talking about hundreds and hundreds of years how many changes this family went through. I loved how joyous the beginning scene was in 1899, Christmas and music. And the costumes were beautiful and the food and the décor of the room and everything. And as that same room was shown to us years and years and years later, you know, at the end we have Nathan, Rosa and Leo in 1955, they say, Do you remember this room? Do you remember what this room was? And some of them say no. Yeah, and and it's a shell. By the end, it's a complete shell. And so I would I would totally say huge shout out to scene designer Richard Hudson for showing that and allowing the audience to be. In the same room multiple times and showing the emotion and the sadness left and drained out of that home from the beginning to the end. I just have to say that.
Jeff [00:05:09] Well I think there was such an important to showing the family so large right out of the get go. Yeah. And showing this home that was so established right from the start. Right. So we we start with this family tree, something that we, I think as people always kind of forget to do in our lives, which is interesting. It it kind of says to you, oh, do you even know your family tree?
Richie [00:05:36] Yeah.
Jeff [00:05:36] As an audience member, yeah. You know, you have to say, you know, and as Americans, we all come from somewhere else. Yeah. And what was that family tree and how did people get to where they are today? And what we see here with this family is they were so big and established in the country of Austria.
Richie [00:05:54] Yeah. Yeah.
Jeff [00:05:55] And little by little, we grow as a family, too, because what? Kids start having kids and they grow up and more and more. And then the home though also changes in design. So it was such an it was like a cool way. You know, as you said, the scenic designer took that 1899 piece and brought us into the twenties. And what were people craving in the 20s?
Richie [00:06:19] Yeah, when to use that kind of culture? The woman who wanted to keep going to America. I also found it interesting when the grandmother in the beginning I loved her. She was really wonderful. I really loved how in the beginning that was, um, played by Betsy Atim, Grandma Amelia. She says we don't put the names of people in photo albums because we all know who these people are. And then as years go on, we don't always remember when. And you think about it in your own family and you say to yourself, Who did your grandmother know or grandfather? Then who did your parents know and maybe forgot a little, but kind of know? And then who do we know? And in every generation, you kind of lose the memory of a general. Oh, that person. Oh, that face looks similar. I don't remember. My mother would know. My grandmother would know. My father would know. My grandfather would know. So who are the people in your life now? They when you have children and grandchildren, you'll know. But your grandchildren may not. So writing then I kind of learned how to write names down all the time, you know, tagging the photo or commenting on the photo. But that was important because I think at the very end we see this family and the ending was so haunting to me because here are these last three living cousins of this huge family, and here are the ghosts behind them or the portrait style pose that they're in. And for them to say, what about this one? What about that one? And the reasons of death, some medical, mostly from the Holocaust and a lot from suicide. Something I learned. I didn't even know that so many people had committed suicide at that time. It was so sad to hear that. I didn't know a lot of that, actually. I, of course, knew about the Holocaust, and I of course, knew everything associated with that. But I didn't know that so many people had died from suicide from that. And at the end, I think the the character Rosa, she names like four or five people in a row. And there was four or five people in a row that all said Auschwitz. Auschwitz. And that's how you're left with the look of this family. And and they're dressed from a long time ago when they were at their core, at their whole most of them. Right. And to be left with that, as Tom Stoppard does, is haunting. That's really haunting. And I was felt that I said, oh, my gosh, how many people had died? And look, you're an only 50 years later, there should be a lot more people living in this family and how tragic that was. I felt that at the end I really did.
Jeff [00:08:42] It was tragic because it this this piece really started out as, you know, just a traditional family, almost as a comedy where you're just watching and you're like, oh, that's happening and oh, that person's having an affair and oh, this is happening. And then you say, I'm preparing myself because I know where this play is going because we know we're going to get up to the Holocaust here. And I still don't even think we were prepared.
Richie [00:09:09] No!
Jeff [00:09:10] For it.
Richie [00:09:10] No, no, you're right.
Jeff [00:09:12] And, you know, I think a little bit of it is because. They were displayed as not being prepared. They as a family were displayed as saying this is just going to pass.
Richie [00:09:26] Yeah. But they didn't know this was going to happen.
Jeff [00:09:29] Right! And I think that's the chilling part for us as an audience members saying these people didn't know what was happening. They just thought, oh, you know what? We're not going to be touched. We're we're going to be left alone and we're going to go back to our normal lives. And I still feel like there's so much of that going on today and not just like the Jewish community, but just in general. Think of all of these things that we're hearing, especially in places like Iran and the Ukraine, and that this continues to happen. You know, it's just it's so interesting to watch that because every single you you wake up one day and all of the sudden your life just changes because someone's like, No, I don't want you here anymore.
Richie [00:10:08] And I think that was so interesting is when the family talks in the beginning about how Jewish people didn't really have a territory or the home base of a location. Leopoldstadt is a district of Vienna, where there was many Jewish people living before the Holocaust, and then they were all displaced and told to leave. And so what's interesting is that the title of this piece is called that, because maybe people found Leopoldstadt to be a home set sense of home for them. And now there is no and when you look at Catholicism and you look at the Vatican and you look at Rome, that's kind of like a core location of the Vatican and the Catholic Catholic faith. Right. But then speaking of faiths, I always thought it was very interesting, the play when they would say, I'm Catholic, I'm Jewish. Oh, you're more Jewish than Catholic, but you're Christian. But that's a pagan holiday. Oh, that's a well, but the Jewish the boy was even given for the Jewish star at the top of the Christmas tree. Right. There was. It wasn't confusion as much as I think Tom Stoppard showing us this the slow start of the assimilation of culture for 1899. Look at us today. How many people today are. Well, I have one parent who is Catholic. One was Jewish, but we don't really practice either. But I practice one more than the other. We see that more now, today than anything. And so to see that then and for them to kind of talk about that a lot, I found Tom Stoppard giving us a sense of what was to come. The blending of cultures was working in this family. And then to see years later how such hatred and anti-Semitism was occurring years later. But in the beginning you saw it and everyone was okay with like the different. You had Passover, you had Christmas, you had these different moments in the family life. And I thought that was really nice to see the blend of cultures and religions like that.
Jeff [00:11:49] Well, I think a little of that was supposed to not confuse the audience, but make you feel like what the family was going through at that time to say, Oh, wait, are they Jewish or are they Catholic or are they Austrian or are they, you know, wherever they're from? And also tying that back to the whole family dynamic in general, not knowing who is related to who and blah, blah, blah. And that as an audience member, you're like, all right, maybe I don't even need to pay it, right?
Richie [00:12:17] That's what Tom Stoppard does so brilliantly, is when she says, I'm this, I'm her sister in law's sister in law's kid. Right. And the other one's like, Yeah, I think. And they all kind of play into that. That's where his comedy comes in. And I think there was some of with the baby and with the doctors coming for the baby that there's that whole comedy. There was some uplift of comedy. I think a great playwright, always in a tragedy or a serious piece, can add little bits of comedy where needed, I mean, at places to give the audience a relief. Once again, I go back to I always feel like Tom Stoppard was with us on that whole journey. I never was on a moment like, Oh, I am completely lost. Of course there's a lot of characters here and it's hard to kind of follow this family, especially when we jump time periods. And some of them are playing older, which was great. Some of them had really quick wig changes, costume changes, look changes with no intermission. I was quite pleased with how some of that wig design and costume design worked really well, really nicely.
Jeff [00:13:12] That's now what you just said. No intermission. What do you think of this show being a five act play with no intermission?
Richie [00:13:19] There was almost. If it was going to be any longer, I would have said put an intermission in. But there was something about it only being a little over 2 hours. I was like, Oh, I saw where they could have had the intermission. Yeah. And I was like, Clearly, this is where it could have been. But there was a part. It's like, No, sometimes you got to just kind of dive into the story, head first, submerge yourself. You're already like, Phone is off, the outside, world is closed off, you're already in it. So like for another hour we can stay in this. And if it was a three hour play. Yes, please give us a minute to breathe. And kind of just.
Jeff [00:13:51] What's so interesting about intermissions is what are they for sometimes? I mean, I know they're like a classic thing that's included in plays and musicals, but, you know, when you go to a movie theater and the movie is a two hour and 30 minute movie, you don't get up and have an intermission in the middle.
Richie [00:14:07] Well, nowadays we have so many people watching films and TV shows from home that when you need to get up and use the restroom, you get water and you just pause it. Right? Obviously can't do that in movie theater. But what I find interesting is. There's two reasons for intermissions. One, musicals, operas, old plays used to be very long, 3 to 4 hours long. So the human body needs a minute to take a break from that. Then when things started getting shorter, intermission stayed for a reason. Number two, which I believe is a commercial reason with major musical theater pieces and plays, selling merchandise, selling drinks at the bar, snacks. There's a whole opportunity there for 20 minutes, right as things get shorter, even 90 minute musicals or two hour musicals. Part of me is like, get rid of the intermission if you can. If it's over two and a half, 2 hours and 15, two and a half, I think you should throw it. And this was only a little over 2 hours. I think it was fine. Yeah, totally. Totally.
Jeff [00:14:59] I think everyone was able to I actually heard someone when we were leaving the theater say, I wish there was an intermission. I could have got a drink. Yeah.
Richie [00:15:05] Okay. I mean, when you're you know.
Jeff [00:15:08] It's such a silly topic to talk about, but, you know, it was there was definitely breaks in the show for the intermission. Yeah. So it was interesting that they went Yeah. Did it without.
Richie [00:15:17] Right. Right.
Jeff [00:15:17] You know, I do want to kind of talk a little bit about just the actual text of the show and how the director was able to. Who was Patrick Marber who was able to really capture, I think, what Tom Stoppard wrote in that piece. And I was just blown away. You know, sometimes we see shows and we we always come back here and we're like, where was the direction or where was the actors really committed to that role, embodying that role? And when we saw this piece, I really felt that there was a really cohesive story and show here and what Patrick did. He had these vignettes of the family. They're supposed to be on the stage, and any time you went to a different family, there was either, like no movement happening. It was almost like they were frozen in time or there was a little bit of movement happening and it was just so great to see. And I really do want to praise all of these actors on the stage because they really, really embodied what those characters were.
Richie [00:16:20] The direction was a flawless. It moved so smooth with the sound design mixed in (cough cough) and the way elements of of lighting and the scrim I love a scrim where you can project on it and lead light through behind and see things. I don't really see that as much all the time. I loved the use of that. And we're not dealing with revolving stages and lifts coming out of the floor and things flying. It was like, you can do some simple things with some lighting and some great scrim work and curtain work. And I think that was really, really amazing.
Jeff [00:16:54] Yeah, you didn't need a lot of high tech, you know, distractions not to call them that because no, they didn't really work in shows. But this didn't need a distraction to kind of distract you from something that wasn't working. Right. This was just getting what was needed to be on that stage there. And the actors were able to own that. There is something so simple of having a dining room table that a family gathers around to be the only thing on the stage.
Richie [00:17:22] And the piano and just fill. And it didn't feel like you need to fill the stage with all this furniture and all these props. They had this beautiful big stage to use the force perspective of that, the wings kind of coming in that was a great made the room like ten times bigger it was really, really amazing. Also, I would like to say the sound design was by Adam Cork, who also wrote the original music and I loved the dance moment and the music with the projections, and then I loved seeing how we were taking them and out of the piece with music. Yes, that was beautiful. In addition to seeing the projections of the actual photos of these people at the time, that is really, really great. We're going back to when we did Paradise Square. And you remember in the beginning there were projections of the actual parties and then it never came back again. And I said, Where is that? This is so wonderfully placed, just a lot, just enough in the moment. And then the portrait in the back ending the piece. We left the stage and there is the portrait of the woman in the green shawl. Who was the day? Where was that portrait? Where was it? And you're left looking at it. I think everything I always say, everything you're seeing on a stage, a director has either approved or is okay with. And when you see everything that we're talking about, you see how the director really does their job really well here. And I just have to shout out that sound design with the original music by Adam Cork because I thought that was really.
Jeff [00:18:42] Oh yeah. And guess what? We have a great sound design today on our podcast because I'm pretty sure you hear this lovely chainsaw, you know, because why we still record at home. Yeah, so record at home. So we're just pointing it out that yeah, we have a lovely sound design of a chainsaw.
Richie [00:18:57] Sometimes you'll hear noises outside and we just make it work. So anyway.
Jeff [00:19:02] I just, you know, like, we know it's there, but we're going to be fine.
Richie [00:19:05] Piece. I wanted to ask you a question that I think is interesting. We have two pretty prominent musical theater performers in this piece. We have Brendan Uranowitz who's giving an amazing performance. He is so good at what he does. And I really, really enjoyed this performance here. And we have Casey Leavy, who is also, we know, an amazing vocalist, an amazing performer from Frozen and so many other shows she's done. And they're in this show playing these really serious roles. And not that their roles in musical theater have been serious, but so often you don't always see musical theater performers and play performers crossing over like that many times in the industry as a musical theater performer, stay musical theater, play performers. So here my question for you is, what do you think of seeing two people you've seen sing and dance amazingly in the shows come over to this side and be playing this some really serious roles in a nonmusical format. What do you think we should be seeing more of that? What did you think of their performances and what were your thoughts?
Jeff [00:20:10] I think it's great to see actors really kind of teeter the worlds of musical theater and straight acting. I, I always find it interesting when you hear someone that says I'm a straight actor or, oh, I'm a musical theater actor. And I always say, why? You know, do you is there a difference in acting between the two? Are you not serious in a musical? You know, those are some of the questions I have, but it is nice to see them do this because they are showing that they're capable of doing both. And I don't think everyone can and I think know your strengths. And I think what Brandon and Casey are doing is, oh, I know that I can act. I'm going to go do this as well so that I'm not just considered a one trick pony in the musical theater world or I'm just only able to act, you know, they both can sing. We saw Brandon an Assassins last year. He was terrific. And when you saw Casey in he and Casey.
Richie [00:21:08] Yeah. Casey and Casey.
Jeff [00:21:10] And does everyone.
Richie [00:21:13] Saw Casey and what we saw in Caroline,or change in a mostly non-singing role. You know, we always saw her.
Jeff [00:21:17] As we saw her in Frozen. So it's interesting, you know, she was probably going to get pinned as, oh, she's just Elsa. And now she's really kind of saying, now I'm going to strip that from me. That was something that I did. And now I also going to show everyone that I can also do it.
Richie [00:21:31] And it's smart. It's smart of the agents and the publicists, and it's also smart on them to say, I can do other things. And I think that that means I just want to ask that because I love seeing that here. It looks like a lot of the London cast came over and did this, and then it also looks like some of new people in New York, people came on them.
Jeff [00:21:46] Which is really nice. I'll ask that same question back to you. Those you come out of that world of, you know, Michigan theater and as actors went into that school, did they have to kind of declare who they were as an actor?
Richie [00:21:58] Well, it's interesting, because the musical theater majors at school all had an opportunity to one of their shows in their season was a straight play with no music. And I always would sometimes work on a lot of those pieces. And when I would work on them, an assistant directing a lot of them, I would hear a lot of chatter. I would say, Oh my gosh, I'm learning so much as myself, as an actor when I'm stripping the music and the singing in the dance away, just for a little bit. I sometimes think when you see musical theater performers going into TV and then coming back to straight plays and then doing musical theater, be malleable, be the Play-Doh work. It doesn't always have to be the musical or always have to be the play. I think it's great to see that crossover. Yeah, and I think and vice versa. We also had some acting majors in Michigan who would go into musical theater sometimes and would do those one small talk. Oh, I want to work on my singing dancing skills because I'm doing monologues and scenes all day long. And so I think it was nice. It's this a this is one art form and everybody was one Broadway and there's all these theaters and they're all doing different things. Be malleable. Yeah, be open to it. I also love when I see actors, directors and directors act. We see that with Joe Mantello. He directs Wicked and then he's in a play with Sally Field. That's when we saw Glass Menagerie. So I love that there should be more of that. We don't have to have one hat glued on all the totals in history.
Jeff [00:23:18] You know, it's like less chance gallery thing that she does in this industry.
Richie [00:23:21] Yeah. Producing, starring, acting, singing. Yes. So yes, I just have to say that because I think that's really important. We see examples of that here in this piece.
Jeff [00:23:29] I love it. I love and I love seeing those names in a show like this.
Richie [00:23:33] Yeah.
Jeff [00:23:34] You know, kind of to come full circle here on this. But, you know, Jesse Green, I read his New York Times.
Richie [00:23:40] Times and had wonderful reviews, this piece.
Jeff [00:23:43] Across me. And it's a New York Times critics pick. So, I mean, what does that tell you? Yes.
Richie [00:23:47] And it was and it was full. There was no local news, really no empty seats there when we were there was where he full. Yeah.
Jeff [00:23:53] He wrote in his review. This question is a corollary of the warning that we must never forget the Holocaust, that we must always expected again. And I kind of stumped on that and I said, wow, you know, does that even make sense in this piece? And it kind of does. Should we always be expecting this again? You know, I think we're supposed to learn from history that it should never happen again. But at the same. Time. History keeps repeating itself over and over again. So what do you think about, you know, seeing a question like that?
Richie [00:24:25] It would be hard for me to say. That's Tom. Tom Stoppard sat down to write this piece and not see what is going on in the current world and ignore that there. There is clearly moments of seeing anti-Semitism and racism and hatred in this world and saying, hey, I'm going to write this play. And when I tell this play, because we don't want this to ever happen again, let's learn from the past. Let's see a play. I'm sure there were people in that audience that had ancestors and relatives and people involved in some way with the Holocaust. Just like when we sit and we see a play about the HIV AIDS crisis of the gay community in the eighties. And we know people older than us who were in directly impacted by that. So when we sit here and we see that, I say, yeah, this play needs to be told so that we look at the hatred in the world and say, that was a really bad time of history and that can never happen again. And let me just yes, we want to move forward. We want to look to positive light and live a better life now. But we can't forget the past and we can't forget to learn from it. So I think what's very important is that we are seeing pieces like this. Again, I haven't seen a Holocaust piece as a new play on Broadway in a long time. And I think this was Tom Sater and Tom Stoppard's writing this partly from some reflective past. Part of this was loosely based on some of his family history. And I think that was kind of nice when you get to the status that you're out as Tom Stoppard. And another thing that the article that you're talking about mentioned Leo in the show had changed his name. And I believe Tom Stoppard says that, too. He had had his name changed later on in life, too, so there could be some correlation between those characters.
Jeff [00:26:05] His name was Leopold and it was changed to Leo when he moved in.
Richie [00:26:08] The character in the show. Right, right. So to answer your question, I think it is we never want to see that repeated again. Let's tell this story and remind people that this was not that long ago. This really wasn't that long ago. Some people think, oh, my gosh, no, it wasn't hundreds and hundreds and hundreds of years ago. And this is real. It was scary and it was sad. And when you see these three cousins living left in 1955, when that whole family line, how could you tell a family piece about a huge family that has dwindled without casting all these people in the show? It's almost like he knew he had to do this big right. You know.
Jeff [00:26:43] And I think that kind of sums it up as well, like. This world is very big. And in this world, a lot of people don't like other people. So when Jesse Green writes, can we expect this again? Unfortunately, I think the answer is yes.
Richie [00:26:58] And it's I hope never like that.
Jeff [00:27:00] Not like this. But I do think, you know, there are a lot of people in this world that don't like each other. And that's just the unfortunate truth.
Richie [00:27:09] And we have to get better at learning from the past so it doesn't repeat itself, as the famous saying goes. So.
Jeff [00:27:15] Oh, my.
Richie [00:27:16] Gosh. At a time already. Wow. Talking about great theater. I love all this great theater coming to New York at this time. We're just getting new, fresh plays with great ideas and wonder and some revivals of things, too. Overall thoughts?
Jeff [00:27:28] Well, actually, I want to end with something again, because this also came kind of from Jesse Green, and I thought it was a good way to kind of sum this up and this. But we kind of say this all the time as well on our podcast. But like, who is this play for? And he writes, Is this play for the people that don't think the Holocaust happened? Is this play for the people to be reminded that the heart for people that need to be reminded that the Holocaust happened, that believe in it, or is this kind of for people that sit in limbo, that need to be educated about the Holocaust? Because, you know, the people that don't believe in it are never going to believe in it, probably. And the people that need to be reminded, be reminded already know about it. They're just going to get a little fire lit under them. Right. So who is this for?
Richie [00:28:12] I think it's for everyone I say that are so many pieces, but it shouldn't matter if you've been affected by this directly or not. Right. Well, your age is what your background is. Everybody should really try their best to learn from this and just submerge yourself for 2 hours. And so I had no idea what this was about. I didn't know what I was going into. I just dove in and I opened my mind and I listened to other people's stories and I made sure that I was tuned into it. And I made sure that I was really. Open to understanding this. And I loved sitting here now and talking about it like that. Everybody should go see this. It's running for a long time. Go see it. Just submerge yourself in something that's maybe not about dancing and happiness or like, you know, Phantom of the Opera for the 45th time, which is great. I get that. But like try the new things because that's where you find new exploration as an artist, I think, and as a human being.
Jeff [00:29:07] Yeah. I also agree that this I think this play is meant for people that really need to go and submerge themselves into something that they are not expected to see. And by doing that, they go and they learn about something and they maybe take something from this and apply it to their life after maybe they apply being nicer, or maybe they apply being more of a person who wants to learn more about the history and then kind of spread it and say this needs to stop and apply it to the world.
Richie [00:29:38] Yeah, yeah.
Jeff [00:29:40] And just sit down and take something out of something that they're traditionally normally going to see and say, I need to go submerge myself into something else because I think that's what you and I did. This is not something that we normally would learn about or or experience. So for us to go and sit down and take ourselves out of our own personal lives and say, what did other people feel like? And I think that's something that we don't do a lot of this in this world.
Richie [00:30:06] Yeah. Yeah.
Jeff [00:30:07] Put yourself in someone else's.
Richie [00:30:08] Shoes for sure. For sure.
Jeff [00:30:09] So, yeah.
Richie [00:30:10] Wonderful piece. We I really enjoyed this. And my overall thoughts were I yes. Like I said, everyone should go see this. I think it's playing for a few months at least. So make sure you go check it out if you can. Like I said, it's at the Longacre Theater in New York City. Yeah. And to be continued, because we have more plays coming, we have more concerts and things that we're going to be talking about this fall is jam packed with lots of amazing things. And so we thank you so much for listening today. Make sure you check out @halfhourpodcast on Twitter, Facebook, Instagram, TikTok, all those wonderful places that we're posting about and comments engaged. Like, Let us know what you think. We have more things coming, but they uphold shock. The Longacre Theater. There we go.
Jeff [00:30:47] And tell us what we should go see and talk about next.
Richie [00:30:50] Yes. All right. We're getting ready to sign off for now. Saying ta ta for now. I'm Richie.
Jeff [00:30:55] And I'm Jeff,.
Richie [00:30:56] Saying ta ta.
Jeff [00:30:56] Bye.