iTunes Exclusive Episode Phantom Of The Opera

The following is a sooner orgator production.
Good morning!
I feel like I have to talk faster when I hear this music.
I don't know what's going on.
It also means it's time for another.
I don't know if you can hear what's going on around me, but it just got weird.
My name is Rob. I'm the executive producer in Ringmaster of this particular 3 Ring Circus.
We've got a full house today for this particular episode.
As we make the climb towards 50 of these.
Let's go around the room right now.
Joining me across the desk is he tends to do whenever we're on the air.
He's a man who's super man curl is getting a little bit out of control.
I'm a producer of this show. He has chat about that.
Joining directly across from me is the official fact checker of this show.
And a man who was almost sitting directly across from us and what we're going to talk about tonight.
He was a roe closer.
Because that's how he rolls.
You may know him is fun, don't go.
But his mom and name him Don Ford.
I'm going to call him Don Ford.
Thank you. I'm a newbie on this one.
We're going to respect it.
Rolls have been reversed.
Also joining us to Don's left.
She is of British descent.
And she's a lot closer to the subject matter
of this particular episode than anybody else has ever been geographically.
She's jewels.
Welcome to the show.
Hello. Thank you.
And her left.
Maybe second time ever.
I believe so.
For the second time ever.
Is a young lady who finally got to see her favorite musical of all time.
And who is not allowed to age any more between now and December 5th.
She is chas daughter.
She is my god daughter. She is making welcome to the show kiddo.
It's good to have you here.
If context clues are not enough.
We are here to talk about Phantom of the Opera.
You've never heard this.
No.
This is a techno group called Harajuku.
It came out 94.
The year after you were born.
I just kind of looked.
Whoa.
I had this forever.
Because this is perfect.
There are four different versions of this on the single.
We got to start off with the thank you to Cindy Evans.
And everybody at the ATT.
Wouldn't spear opera house.
This is the first time.
We're looking forward to our relationship.
Thank you so much Cindy.
I actually got me under the wire.
Which I greatly appreciate.
We all appreciate her.
She was nothing but great to us when we saw this particular musical last night.
And a beautiful facility called the Windspir Opera house.
And so you're probably hearing a say these things in your second rob.
I don't live in the DFW area.
How is this particular iTunes exclusive?
Going to appeal to me.
Stick with me.
Because Phantom of the Opera started in 1986 on Broadway.
Oh, no.
Started in 1986 on on the Legends West.
Oh, okay.
Broadway didn't get until two years later.
Okay, but it's been around since eight years.
Yeah, yeah, yeah, yeah.
The Andrew Lloyd Webber Blockbuster Classic.
Got a bit of a fresh coat of paint.
Mm-hmm.
And this, the Dallas performances is the North American premiere of this particular production
that will be traveling everywhere.
So if you don't live in the Dallas Fort Worth area and you're a member of the empire from across the globe,
this is going to be important to you too because this production could be coming to a city near you.
I wouldn't say in the near future because it's going to be here for about a month.
But keep this one in your back pocket so when it does come to your area,
you'll know what to expect.
Now, on our last,
atone day's goal.
We talked about Le Mis,
which we saw the local production.
Really?
The sneaker.
But you can see the tie in.
Kind of.
Underground.
Six Underground.
Okay, thank you.
I love this song.
That's great song.
Tell you, it doesn't.
Sometimes you've got to reach a little bit.
That's the genius of the way I program the music on this show.
But the North American tour,
almost of the country's not going to see this until next year.
As we read in our play bills, as we saw it,
this is actually the day after we saw it.
When we're taping this particular episode,
and we're still free of doubt.
And said,
most of the country's not going to see this until the 2015-2016 season.
So we're really getting the first crack at this.
We're way ahead of the curve on this one.
And again, in a beautiful facility,
you know, just a wooden spear opera house,
which I'm very excited to go see something else there.
Soon.
Quickly.
So pretty.
I think we can kind of skip the plot line at this part of it,
the way we usually review,
because I think everybody knows the story.
Well, just maybe give a quick 30 seconds.
Yeah, if you want to, don't feel free.
Basically, it's about a Phantom that's from my garden.
First of all, I want to say that this is the first time I've ever seen it.
And you haven't, you know, you went into this completely cold.
Not even the old Universal Monsters, Lon Cheney.
Wow.
And I wanted that, you know,
I think that'd be a good perspective for the show.
Basically, it's about an opera house,
where there's a basically a fandom there.
And they're not a fandom.
Well, they call them the fandom.
They call in that.
And he's a just figure person he could say.
And from what I got from it was,
basically they're doing a break of production.
And he kind of falls for one of the girls.
And he basically torments them until they say this girl.
I want her to be the head of the thing,
because he falls in love with her.
But then there's a little love triangle and all that.
But that's the big thing in a nutshell, I could say.
Well, he's been secretly instructing Christine.
Yeah.
For years and years, her father was a violinist who died
and to promise her an angel of music would come to her.
And so he's been secretly teaching her vocals.
And an opera house that's just been bought by two new owners.
And we have no idea what they're in for.
Where this, this quote unquote phantom,
they reserve box five for him.
They don't ever sell those seats.
He's paid 20,000 francs a month,
which I think translates to about a buck 80 year American.
And this got to me, probably.
So we got the groundwork late.
I want to start visually.
I saw this live in the Broward County Performing Arts Center,
which is in downtown Fort Lauderdale,
right in the intercostal beautiful.
I get right after it opened when I was in high school.
A friend of mine to mom took about five of us,
bought us all tickets and we beautiful seats, great time.
So I have a little bit of a frame of reference to go with on this.
As do I.
Stage-wise,
it's amazing how far technologies come.
Technology is such a prevalent part of the stage set in this,
because of the way everything moves,
the pyro-technics,
the interchanging between scenes.
I love flowchats and wheels off.
I try to do on this show.
But you get it, you're with me.
Uh,
the music.
Anybody that says that this is a straightforward review show,
I apologize to you in advance,
because one thing if you don't know about this show,
we love to have a good time.
What a wrong with you.
I think the shirtless is what's not wrong with twist.
Why not?
It's the same basic premise.
You know.
But again, the thinnest drill of R&B.
The Peter Griffin of R&B.
But again, the stage set alone.
You could tell this was a brand new fresh coat of pain.
It was using modern technology,
the lighting,
the prasinium archway on this thing.
I could not stop looking at that at the carvings on the archway.
And really, when I saw it when I was younger,
the archway played a much kind of,
it became a character in the musical.
Yeah.
Where has this?
It was more of just a set piece,
which I think was kind of cool because it didn't distract
from what was going on on the stage.
Uh,
the transition between scenes alone.
I want to give a lot of credit to the people
that work backstage on this thing.
Oh my gosh.
Because they weren't uniform.
Some of them were.
You're saying transition.
I got to see this.
There were props.
And next thing they're gone.
And like you didn't even notice that they were gone.
But I was blown away by all the different sets.
They looked incredible.
And how fast they were able to turn them.
It just,
the sets everything,
the background,
the chandeliers,
everything was lighting.
It was just incredible.
I think the biggest,
the biggest stroke of genius was the office.
Yes.
How that was incorporated.
It made me think that the people that designed the stage
were like people of our generation.
I had those little play sets.
Exactly.
It's like,
you know what?
You know what?
You'll just go ahead.
Talk right into that microphone.
I just love how they did the boat.
I'll just love how they put the boat on.
The boat,
to me,
was about on par from when I saw it when I was again.
Yeah.
Because you really can't do much with that.
I mean,
it's a stage try.
Yeah.
The stage try was kind of the same technology.
For me,
I'm a lot along the line with Chad,
was how they were able to use
so much in that one set piece.
That's what's.
That it went from the balcony to a wall
to the staircase leading down into the,
into the catacombs,
into the office,
into opening up into the fanombs layer.
It just.
It was so brilliantly designed.
Everything is kind of become black box theater.
Ask where they just have one giant centerpiece
and they just keep utilizing different angles.
And I love the mirrors that you used for.
Oh, God.
That's great.
So it's just also just.
It makes it easier on your crew.
Yeah.
Because they can work on things in transitions.
Where you don't have to have the,
the orchestra vamp for 30 seconds.
It's there.
It's ready to go.
One of the scenes that really stuck out for me
was the rooftop scene.
During all I ask of you.
Yes.
How brilliantly that was done.
Where it was when I saw it when I was a kid.
That was a static set piece.
But as Christina Rao will leave,
it comes to the forefront.
And you see the fan them in there.
It was like a camera zoom.
It was.
And I thought that was brilliant.
Yes.
And I got to add to that the snow coming down.
You're not seeing on the stage.
If you look, you saw it.
Yeah.
I think the snow could have been a little bit more prevalent.
Yeah.
It seemed like there wasn't enough going.
But.
But the same token.
It saved them a little bit of time.
Haven't asleep it up for the next scene.
I think.
I want to say the props of the fire, the power of techniques.
Even the lighting during on some of the props and they're like the candles and everything.
Some were lighted.
Some were fire.
But they did that very well.
The shadow.
The shadow is.
The shadows that they used to tell the the fan us back story.
And you know, as he went around, the sound design.
When he was saying, I'm here.
No, I'm here.
And it was like, it was everywhere all over the opera.
As well as you felt like it was actually in the room with you.
And you felt like you could hear one side of it.
And you could hear the other side from me as well.
And it was just breathtaking.
The same thing.
When they were the soldiers were securing the theater.
Dorsey.
Dorsey.
They were from every corner.
And they were so close.
It's the camera of the TV screen.
It showed the soldier at one of the doors.
Yes.
And I thought that was amazing how the did that.
So the meds that, you know, the stage, like everyone sitting part of the show as well.
And I just thought that was really good how they did that.
And the other thoughts on the technical part of the production.
We could probably, we could probably do a whole show just on the technical aspect of this because it was so dead on.
The monkey in the box.
The monkey in the looked amazing.
Yeah, I cried.
Yeah.
And I saw that.
Oh my god.
And we'd be completely remiss if we didn't mention.
The chandelier.
See, for me, the chandelier.
If I've got to have a criticism.
Seeing it when I was younger and having the chandelier be on the stage and pieces.
And as it happens, it forms and gets raised up into the ceiling.
And then drops at the end of act one.
Coming within a few feet of the head of the people in the pit.
To me, that was more impactful than it just kind of being static.
I'm sure over time it has become more of a safety concern doing it.
The way they did it.
I agree with you.
But that doesn't make it any.
It doesn't.
Yeah.
You know, that's not cool for me.
And like I saw it on Broadway.
You did in 1990.
The show was still kind of in its infancy.
Think I saw it like the next the next year.
Yeah.
So we saw when it was relatively young.
And I'd never seen anything like that before.
And you know, having been in, I know this is small potatoes.
But having been in several high school musical productions.
I mean, I had a genuine love for the art form anyway.
Oh, it is.
You got to know this thing.
It is.
And seeing something like that.
So technically intricate.
Be pulled off.
And you literally thought you were going die in that theater.
If that thing came down.
And at the time, I didn't know it was coming down.
Oh, really?
I forgotten about that.
Because it belongs to that scene.
The movie from the 20s.
Nice.
So it was a shock to me.
So you and I both went into this kind of expecting to be blown away by the
Chandelier.
But I will say the Chandelier itself was far superior than I've ever seen.
The, the, the, the, the, the reveal at the beginning.
I'm still trying to figure out how they did it.
How they did away with the drop cloth around it.
It just kind of got sucked into the Chandelier.
Because you didn't see it go up above it.
And it didn't drop down.
It just kind of rolled up like almost like that.
I kind of don't want to know.
I don't either.
But it's just, I'm still trying to figure out because you never seen the evidence of it.
It's just gone.
I'm like, okay.
It's magic.
I like having to take what they did with the Chandeliers for the Dallas version.
Because the one that we've seen at the Royal Albert Hall.
It doesn't even fall.
It doesn't fall.
It's just kind of really different.
Yeah.
It sparkles and.
Sputters out.
And that's about it.
And I think the Dallas version was much better than the UK's version.
Of how they did the Chandelier.
Because that's the, that if you go see this thing,
they're selling the DVD and the blue ray of the 25th anniversary celebration at the Royal
Albert Hall.
I want to pay $60.
Or you can just find it on YouTube, which is what we did.
We're just, you know, right at some point.
Yeah.
Yeah.
If you can.
That big of a fan going to pass.
The one thing I got to go to next.ness is the orchestra.
Okay.
Let's go.
Fifty-two is a 52 or 56.
Is it here in the play pill?
It was in the, the press release.
I think it's big.
Oh, shoot.
Fifty-two piece orchestra.
You can conduct it brilliantly by Richard Casey, by Richard Casey.
And by the way, all local musicians.
Really?
I did not know that.
All local musicians.
Really?
So is it right here in, in my, in my play pill?
I was wondering about it.
If it was like a live orchestra type.
Oh, it usually is.
Because it's the only so good.
The only production like this I've ever seen that was an alive orchestra was when I saw
Beatles love.
And that's just because that's what it was.
If you go see Cirque de Soleil, that's all live music.
This one here at how it, you can have something so soft in the next thing.
You got that electric style sound at one point.
You know, like what the boat and everything.
That just blew me away with the acoustics of that building too.
I cannot find any faults with the music at all.
None.
Absolutely none.
Brilliant.
Absolutely brilliant.
The sound mix on that thing was so perfect.
Again, as part of the technical deal, everything was absolutely spot on.
I mean, I know that when we saw a miss and when we saw a mom.
I mean, there were a couple of technical glitches musically.
Like sometimes a volume of the of the vocals got buried under the music influence.
And sometimes it was vice versa on both of the previous productions that we've attended.
This I never got that.
If it happened, I didn't notice it.
And for to give you kind of an indication of the of the magnitude of this production.
You have certain two or three different roles in this that will be somebody different depending on the
D you see it because this thing is so constantly moving and constantly moving.
The only way these people can get a day off is to have somebody else play the role.
Everyone's in again.
And let's, that's what we call a segue into the performances.
Cooper Groden as the Phantom.
Christine's in a played by Julia Udin.
I hope I got that right.
It died.
Christine DIA.
Yeah.
I was more worried about the actress.
I think that's who Dean.
Yeah.
Just those are your two leads.
Raual played by Ben Jakobi.
Which I would get your three leads.
Let's start with Groden's performance of the Phantom Mew Megan.
I thought he was really, really good.
Like I was really, really excited to see him when he finally popped up in the mirror.
I was like, oh my gosh.
She was so fantastic.
Very angel of music.
No, like when you start out with fan of the opera or no.
Yeah, I know you're right.
That's true.
Which he's in her dressing room.
Yeah.
And then just seeing him doing the Phantom in fan of the opera.
I was like, oh my gosh, he's convinced me that he's the Phantom.
And he's really, really good.
Jill's talked to me about Cooper Groden.
Wow.
Well, I thought I think he was amazing.
I enjoyed his music.
He made me feel...
Sit, what's the word I'm trying to look for here?
Happy?
I did.
Happy.
I just feel like I was put under his spell.
Fair enough.
That's appropriate.
You know what he did?
I just felt like I was just...
I wanted to follow him.
Are you my angel of music?
I was like, I was like, I was one of the baits.
Don, go.
In that show, he did incredible.
And I thought he really hit it in the ballpark after the
Intermission.
I think that's when he really just...
I can't find anything wrong with him too much at all at all.
Jack?
I was impressed by the guy because that's a tall order to put on
somebody's shoulders to play this role.
I mean, you really have to.
It is one of the iconic roles in the history of Broadway.
You've got some really big shoes to fill.
There were moments with him that he kind of lost me when he
got a little bit too operatic.
I agree.
I see him.
You know, I know it's called Phantom of the Opera,
but we're not watching an opera.
Whenever he's doing what he's doing.
He's still performing in musical.
For the roles of, you know, Carlotta and...
Let's get there.
And no, no, no, I'm saying...
Okay.
You expect that of them because they're always in opera mode.
You know, she's a diva.
As is her...
As is her co-star.
The ten...
I keep forgetting his...
Don't come there.
Pyange.
I keep forgetting his character's name.
That's who they are.
That's what they embody.
And yes, he is an opera composer.
But when he's...
When he's singing his songs,
you really just wanted to stick in the Broadway musical.
I wanted to do our motion.
Yeah.
Your heart is supposed to be constantly
be breaking for the Phantom because of what he's gone through.
Well, with him, I struggled in the first act with him.
Because I wasn't there.
But I really think it really picked up for him in the second act.
I really felt that...
It was almost like he felt more comfortable with the material in the second act
and he did in the first act.
Uh-huh.
Still a great performance.
But I felt he more came into it in the after-intermission than he did before.
That's what I kind of thought too.
And a lot of it probably has to do with the way that Andrew Lloyd River writes.
Because he always has people going like this.
And he always has people singing like that.
And he always has people who are running in any other sentences.
And it's just the way he writes.
That's just the way an Andrew Lloyd River musical is structured.
Julia Udina's Christine,
I thought was Faye Na-Meh.
No.
Yes.
She is spot on.
A phenomenal performance by her.
Had...
Just had that courage.
She had that strength slash vulnerability balance right in perfect line.
Vocal dead on.
She had the look.
I mean, Megan pretty much picked her out.
Yeah, when they were dancing.
When they were doing Hannibal or whatever.
I said, who's going to be?
Which one's it going to be?
She went right to her.
I did.
I was like, I picked you right there.
Because we didn't know what this girl looked like.
Yeah, we had no idea.
Either one in the front or the back.
Yeah.
It was two choice.
But it was the one in the back that she got.
She goes, they could be either one of these two.
Yeah.
And I went with somebody completely different.
I didn't get it right at all.
Yeah, you picked her right head.
I picked her right head.
I thought that she is through the roof.
I cannot find anything wrong.
Now, depending on when you go, she could be played by either Grace Morgan or Celia Hottenstein.
We, the production we saw was Julietoo Dean.
So I want to make sure that we're clear on that.
Because not to take away from either the other two, but they weren't the ones playing the role
when we saw it.
If I've got to pick a criticism amongst the three leads, it would probably be Ben Jakobi's
portrayal for Owl.
I never really bought the chemistry between him and Christie.
I agree.
A strong performance.
Don't get me wrong.
The guy's got pipes.
He could sing.
I just, I just never really felt that chemistry there.
Especially during all the ask of you.
Which is the one you have to ask.
Exactly.
They weren't really touching.
But part of the wonders is that, does that kind of go with their relationship
that there really isn't chemistry between those two?
He should, at least from his end, he needs to show.
He needs to show.
He loves her.
Yeah.
It was just kind of like, when you first meet him, it's kind of like, hey,
we each other and we were kids.
I do.
Snaps of you.
You know.
We're has for me.
Raoul is more like Gaston from Beauty and the Beast without the D baguiness.
And that's what I expect from a Raoul in this role.
That boldness, but yet that that soft spot for her.
That he's not afraid to show.
Yeah.
And I don't know for sure if I really, really felt that from Jakobi.
Again, a strong performance, but like we talked about in L.A. Miz,
the guy playing Johnville, John.
Great performance.
But I'm not sure this was the role that he was supposed to play.
Absolutely.
Right.
I thought from anybody else on that.
Uh, the two, uh,
uh, Michelle Andre and, uh, Michelle from me, uh, Brad Oscar.
And Edward Scott Meyer, uh,
or as we called them last night when we were watching the Royal Albert Hall performance,
the Lumiere and Cogsworth, the Phantom of the Opera.
Give Kudos to Jules on that one.
Yeah.
She picked that.
I'm like, I didn't think about that.
It's all right.
Now.
And that's pretty much who they are.
My, my, my, my, my character shining star was the,
um,
Beyond G played by, uh,
Frank, uh, River, River Rose.
I, I thought he did incredible.
He was very, very good.
And a, and a, and a smaller role.
And in a role like that,
it's very easy to want to kind of try to shoehorn yourself in.
Mm-hmm.
But I thought that, uh,
Mr. River Rose did a great job in playing a,
I, I go and call him a minor role,
but just a less major role.
The, the primary,
the relief of nothing else.
But keeping it,
you know, he's there,
but he's not.
I'm here.
Yeah.
You know what I mean?
Even that's what his character pretty much is, too.
But he knew that balance of where, okay,
I know this isn't my scene,
but I still need to be here,
which I thought he did very, very well.
That, that long note of it.
Yeah.
Yeah.
And this,
Roma.
Roma.
Roma.
Roma.
And we cannot forget it,
even though we mentioned earlier,
uh,
Jacqueline Fontaine.
It's, it's Carlotta.
Oh, my God.
That's just one thing that Chad,
you said a lot when we saw this last night was,
she gets it.
Uh-huh.
Yeah.
And she did.
She knows that role.
She plays it very well.
Amazing vocal range.
Mm-hmm.
I think at one point,
dogs had to are exploding outside as high as she was singing.
And that's a good thing.
Well, it's repeating themselves.
Yeah.
Yeah.
Yeah.
And that's a good thing.
Amazing control,
especially in the runs during think of me.
Mm-hmm.
Absolute brilliance.
And if you said a movie version,
she's, yeah.
And her, you know,
tone, tone, tone, tone.
Yeah.
You know, as well as that dynamic in the musical,
in my opinion, should be those two are equals,
whether or not Carlotta wants to see it or not,
they are equals and Christine playing it as,
you know,
I know I'm not you,
but I don't have to be.
I don't want to be you.
Exactly.
It's just that dynamic I really felt in this film.
Mm-hmm.
Oh, this film or this.
This, this, I, so you used to sing film.
I know.
In this production.
I don't know how to get on that mode.
Any other, any other things you all want to say
before we get to the final analysis costume design?
Costumes were very good.
Oh, yeah, dead on.
I mean, what else?
And just, again, seamless in costume changes,
which I thought was really well done,
where some of the costumes that were done on stage,
they were able to keep your attention
diverted long enough for that quick change to happen,
then you turn back and we'll Kate,
now we're doing this.
Remember that, Megan?
Yeah.
When did Christine go with you?
Would you put on a dress?
Think of me when the think of me.
Yeah, during the think of me.
I mean, I remember, I just elbow, Megan,
I'm like, okay, how do they pull that off?
Because I never saw it happen.
I also said, and she's there in full dress.
I'm like, well, that was impressive.
They just clicked it on.
The only thing that I had an issue with,
and I know Megan, you're right there with me,
is the Phantom's red mask disguise
if a mask arrayed ball.
It wasn't what I was hoping for.
There wasn't much going on.
But I was incredible looking seeing it.
For me, that didn't bother me that much,
because I was more focused on everything
that was a beautiful set there.
I thought in the lighting.
Oh, Lord.
But for him as a character.
But that suit is so important.
That is an iconic moment in that musical,
because normally when you see him,
he's got like a gilded skull mask on
and a very, very fruit-free looking,
you know, sweeping like a musketeer.
It's kind of like a tradition almost.
And when he came out,
and he basically just had a red version of what he normally wears.
He had a slightly more militaristic clothing.
He had glitter on it.
Did you see that?
I did notice that.
I didn't have a problem with that.
To me, it was,
I was more about watching everything
that was going on more than that,
but I can see how that would bother.
If you're a big fan of the thing,
you're like, okay, what's it going to be?
What's it going to look like during the masquerade,
and you're like,
you're like, oh, man.
I guess I just want to make a different tool.
Well, it wasn't all that different from the movie version
either.
It was pretty close to the movie version.
But he still had a skull mask on.
Yeah.
I don't know if you remember.
It was only cut off,
like the load that knows that he didn't have any.
He didn't have a chin based on it.
But the one at the UK, that, that.
Oh, the World Albert Hall version.
That's probably the best one we've ever seen.
I'll have to show it to you, Rob.
It's pretty impressive.
Yeah.
All right.
So final analysis time.
Wow.
This is just a formality.
Here's how this works.
We don't give you grades.
We don't give you thumbs-up thumbs-down.
We don't give you number rankings because as members of the empire,
you are better than that.
And we will hold ourselves to a higher standard for you.
The way we do a final analysis on the show,
it's a two-prong question.
Question number one.
Would you see this again?
If the answer to that is no,
well, then we're done here.
But if the answer that is yes,
normally we would say,
how would you see it?
But it's kind of six a one-half a dozen of the other
with a Broadway production.
I guess the question then becomes
how quickly would you recommend someone to see this?
And Chad, we will start with you.
Would you see this again?
I'll say, let's see.
What time of day is it right now?
It's currently, as we are taping,
three twenty three p.m. central time.
If they had a four clock showing,
I'd say,
when can we go and have fs?
Can we get there?
I think you can do a four clock.
Just go change.
And I pulled it off somehow.
And of course,
I'd have to sell all the teeth out of my head to a four-hand.
I was blown through the back of the auditorium.
A beautiful auditorium as it was.
So you would tell people, go now, go quickly, go off to it.
Absolutely.
Absolutely.
Outstanding.
Done.
I would definitely see this again.
Oh, right.
And to everybody.
This goes through Dallas through the 24th of August.
But to the Empire, if it comes to your town,
who does not live in the DFW area,
to anybody here,
or if it comes to your town,
see this immediately.
It is worth it.
Don't miss it.
Don't miss it because it sold out or anything like that.
Get a ticket.
Get it gone.
Jewels.
Would you see this again?
Almost definitely.
I would definitely go and see it again.
And I just want to say as well.
Thank you guys for giving me the opportunity to go and see this.
Oh, it was definitely.
It was our honor to help out.
You know, I've always said,
it a blessing in a blessing unless you can share it.
And it was a perfect birthday gift.
It was definitely.
Absolutely.
So if anyone has a birthday or a special.
If anybody has a birthday,
not everybody has one,
but if you have,
you're the only one in this room.
It's ever had a birthday choice.
I know.
But that's a special.
No.
It's a birthday gift.
It's about as good of a date night as a date night.
Can you see it?
To most say,
if you love this kind of thing,
it's going to say it.
And if you don't love this kind of thing,
I think you will when you're done.
Yes.
Definitely.
I agree.
You become a fun instantly.
Megan.
Would you see it again?
Oh, definitely.
Okay.
You have to have the question.
Yeah.
Definitely.
I think I would call in sick to work.
To go see it.
I wouldn't care.
Yeah.
And I would love to see the same cast again.
Yeah.
Especially in that same theater.
That would be fantastic.
I mean, because this fulfilled a how long dream
for you, Megan,
how many years have you been dreaming of seeing this?
Almost 10 years.
Yeah.
So, yeah.
Ever since I...
No, this meant a lot to you.
I even did it in choir.
You know, when the first time I ever saw it was the movie,
the 2004 movie.
In years since that's been released.
Can you believe that?
Almost.
Yeah.
Yeah.
It is exactly 10 years ago.
Yeah.
So definitely would see it again.
And for you, Rob?
Absolutely.
I was using.
I would see it again, because I've seen it before.
Okay.
And me as a first timer.
This goes out to all the first timers.
Yeah.
This is a great way to see it.
Go see this now.
Go see this.
Go see this often.
Don't go by yourself.
So you feel like a goofball.
Bring somebody with you.
Preferably someone that you have a romantic entanglement with of some form.
It is wonderful.
Kudos to the entire cast and crew.
Thanks again to Cindy for giving us the opportunity to see this musical.
There's Wonder Mint on the stage.
And for the opportunity for us to review it.
It was so great.
When it comes to your town, by tickets now.
Because you don't want this thing getting sold out on you.
Trust me when I say this.
You need to have to log us 24 to see it here to win.
And shout out to the Winsphere Opera House.
Thank you.
Love that place.
Let's do the plugs right of boot now.
Visit our website.
www.theclubhousepodcast.com.
Find out everything you need to know, including our reading reviews and some stuff you don't.
Like our page on Facebook.
Look up the clubhouse podcast.
But the word podcast on the end or it's something completely different.
Follow this show on Twitter at clubhouse show.
You can follow me on Twitter.
Yes, that Rob Urban that is spelled ERV.
I.N.
I'm at chat in PG69.
I don't use it.
Okay.
My Twitter is found.
Don't go.
And you can email me at dot on the clubhousepodcast.com.
Email.
If you like us to do our show live at your location.
We love doing remote shows.
You can email me with show ideas.
Questions, comments, concerns.
Tell me to go pound sand.
I don't care.
It's Rob at the clubhousepodcast.com.
I am Chad at the clubhousepodcast.com.
Um, Megamomic.
There you go.
Charlotte Parker is on Pinterest.
Because we are morally obligated to say that.
And Jules Pomek is actually in the studio.
So I have such a guy showing on the green moon.
We're at the house.
And he knows get us on Pinterest too.
Alrighty.
Our normal show is every Sunday night.
Seven Eastern for Pacific.
We are your one stop shop for all things sports entertainment.
So until next time we talk for Chad for Don, for Jules, for Megan, for the Empire.
I am Rob and the clubhouse is closed.
And I think maybe an opening night Gallo with a pretty palm on the red carpet.
I'm on board.
The preceding was a sooner orgator production.
Gotta go, gotta go.
Why?
Because I have to.
Go on.