Andrew Rannells Career Retrospective | Conversations on Broadway

thank you all for coming out in this monsoon so how excited you and Reynolds in the house well my guest today is one a Broadway and TV's most beloved young stars he is known for his Tony nominated performance as elder price in the Broadway musical the Book of Mormon yes as a featured soloist on the musicals original Broadway cast recording he won the 2012 Grammy Award for Best Musical Theater album his other Broadway credits include link Larkin and hairspray Bob Gaudio in Jersey Boys the title role in Hedwig and the Angry Inch Hedwig and as King George in Hamilton he is best known to TV fans around the globe as Elijah on the hit HBO television series girls girl fans here today and he also starred in the NBC ryan murphy comedy the new normal one of my favorites opposite justin bartha and Ellen Barkin he recently appeared in a Fox feature why him alongside James Franco and Bryan Cranston and this season he is nominated for a Tony Award for his extraordinary performance as wizard in the William Finn and James Lepine musical falsettos please welcome Andrew Reynolds [Applause] thank you all so much for for being here that would have disgusting today not nice out I know to what ank you for making it I'm why did you make it nice today right look at the L thank you very much well first of all thank you so much for sitting with me well thanks for asking me I was very excited about this well first congratulations on your Tony nomination for your extraordinary performance as wizard in falsetto thank you very much what is this nomination mean to you um it means uh it means the world to me I mean the way that I sort of discovered musical theater was through watching the Tony Awards my mother suggested that I watched the Tony Awards very knowing woman um and she it was 1992 and it was the year that falsettos was performing and I just completely fell in love with that show and and just poured over the script and the and the listen to that recording over and over again and have just always loved the show but it's not a show that is performed a lot there was had never been a revival of it since that original production and regionally it's not something that's done a lot because it is it's it's not an easy undertaking it's a difficult show so when this opportunity came along and it was just all sort of too good to be true with James Lepine and William thin being involved in it and then Lincoln Center and then Jordan Roth and you know Christian I just like it just kept every detail just kept getting better and better and we had a really beautiful very limited run through Lincoln Center this past year and while it was sad to close it still felt like a very complete experience in some ways it was really beautiful to just do that limited run and not have to worry about the pressures of commercially keeping a show going because that is a certainly a pressure so it felt sort of perfect and like this little perfect gem of an experience and then to have the Tony Awards and the Amer theater wing remember us all these months later this is just very very grateful and very humbled by that because this was a very personal show for you you know people work in shows all the time and you have a great time but yeah talking to your entire cast during the rehearsal period and after you opened and just ran in this this was probably the most personal show you've ever done absolutely I mean it for many reasons the history I think we all had with the show I think the time of our time in our lives we were all working on this particular piece and getting to do with James Lepine but it's material that you don't really get to tackle a lot in musical theater and really feel like you are sort of using all of your tricks and there was sort of nothing to it's a pretty bear show so there's not a lot to hide behind we had beautiful staging by Spencer list we had a beautiful set by David Rockwell but it was it was bare and we just had to sort of trust each other and that there's going to be no there were no the Africa tricks to hide behind we were just all sort of dependent on her on ourselves and each other and telling that beautiful story every night so yeah I think we all definitely fell in love in a really major way and certainly Christian might developed a bond unlike anything I've experienced before just having to tell that story every night so it's a very unique experience and I think we are all sort of ruined by it I don't think we'll ever top it go because it was Stephanie J block and in your outer woods I run into all of them on the carpet and if one of the four of them is in a show they come in a pack of three we do right we do we do we do unfortunately Tracie Thoms is in Las Fallas a lot but we I'm sure we'll have a nice reunion for Betsy Woolf when she steps into waitress and I totally don't well then you'll travel in a pack of fibres exactly right or that extra seven yeah talk about working with Williamson and director James Lepine because they're so different in every way yes you mean like yeah yeah yes they're very different um I got to meet them uh was before the Book of Mormon I guess it was in 2009 I guess it would have been I did a reading of musical little miss sunshine that they wrote and I we went out of town we did this very cool lab through the Sun Dance Theater Institute which was very exciting and getting to work with them was a real dream come true and I was in the ensemble of that show and just sort of got to like sit back and watch them create this piece which was so amazing the next time we did a reading I actually was I was asked back but Christian Borle was playing the other role so we had a couple scenes opposite each other and a couple songs together which was really crazy and I remember like just I don't know where sometimes I get my balls from but I said to James Lepine I was like do you ever think you would do a falsettos revival and he was wet now okay alright but then years years later there we were and I was like oh my god this was all I felt like I had willed it to happen my Oprah vision board or something loved it I don't remember a show that affected an audience in such an emotional way and falsetto did yes well to go back to I didn't even actually answer your question um bill is is one of the most beautiful writers yes I think in our currents I don't know uh just in the musical theater I think he doesn't always get the the credit that he deserves or the recognition that he deserves but he's really his lyrics I mean it's like poetry it's not like and diving into the show there were times where it was like it was a little it was hard was a challenge to sort of figure out like you knew one sort of oh just a just a very base level like what the emotion was but the words sometimes it was poetry so you really had to like break it down and make sense of it and um but on the surface he says very gruff man um did some might say he seems unpleasant um he's I'm not not unpleasant but he's like he's tough he's a tough guy so it's funny that his is this really emotional very beautiful yeah it's a strange juxtaposition there but James on the other hand is I think he's a little he's much more straightforward and just sort of you know tells it like it is and it's that sort of my favorite type of director who doesn't [ __ ] with you and it's not about like the journey and process and he just sort of said he'll be like what are you doing that looks phony like you just be honest just like be simple and be honest and sometimes it's as it is as simple as that and I think we can get I know I can get really tripped up on like words and process and sometimes it's just you know say it faster be louder sometimes that's all I need to hear yeah and that I love that James just sort of like does it he's there for you if you ever have you know he he's a wise wise man and he I learned so much from working with him but he can hit you on many different levels he can go really deep with you or he can just say like for Mike I'm not sure this is working it'll be like we'll say it faster like all right and then it works so sometimes it's as simple as that he just cuts through everything yeah gives you succinct things like that yeah that yeah going back to the emotion I mean the emotional way falsettos touched the audience I mean books it like for all of you because I've never the days that we were there I mean yeah we were bawling our eyes out during the show it's quite a story and I think that enough time had passed that not it's a show that I knew backwards and forwards but it's not maybe as well-known as I thought it was or that everybody knew how that's where I was going to end because it's very sad ending and I think it did surprise people nightly there was a lot of people I would say the majority of the folks in there didn't know that that's how it ended so you know you fall in love with this family in the first act even though they're very flawed and complicated people and then that second act really just like contra C on the gut because um there's not a you sort of forget you forget what the timing of all of that was you think yeah because for us we had lost a lot of friends during the first time I played so to go back and to watch this show all over again ya see him through fresh eyes all over again well and it's really to James's credit cuz that initial original production that he directed since it was happening in real times and they wrote it in like that there were the peak of the AIDS crisis and I think to tackle that head-on to like you couldn't really look that light dead on you know that was something that had to be sort of diffused through the production and now with you know time passed I think we could sort of deal with it more directly and it wasn't it was painful but in a different way but I remember asking Barbara Walsh about that original production and and you know just wondering what that would have been like to tell the story and then walk out into the street and have that happening to your friends or you know to people who are working on the show people who were backstage and onstage and you know so I think it was was a lot to process so we've had some time to heal a little bit so we I think we got to tell it in a slightly different way this time yeah yeah talk about the role of Wizard it's a very complicated role because the audience doesn't like him then they like him I mean he's very honest so how did you work on that and well how did you see him I felt like I didn't want to you know initially that in that first act I think that hurdle for the audience initially when it was performed was that he had left his wife for this man and that he was you know he'd left his wife and child for this man so it I think put Whizzer and sort of a sort of a villainous role just by definition that he's the other man that broke up his family now because that situation not people leaving their wives but homosexuality in general is is a more widely accepted thing in this country I feel like I wasn't necessarily just like hated out the you know out of the gate and that there was a little space to sort of figure out why Marvin fell in love with him in the first place so it was important to me to sort of not be likeable but be human and not play a sexuality or play a type it was to play a human being that you know loved very much loved Jason very much wanted trina-- to like him wanted to make that work for Marvin but also had a complicated relationship with Marvin and that Marvin is like kind of unpleasant in that first act and still sort of figuring out where he sits with his sexuality and with how all of this is going to work so I just feel like we had more Christian I had more space to sort of figure out the love story of it even though it's very we had to do it very quickly we really got to sort of dive into that and figure out why these guys were in love in the first place and what ultimately was going to bring them back together in the second act well your performance was perfection as was the show so thank you I want to thank you for that I appreciate right let's go back to the beginning growing up where did your love for performing begin and what were your early is creative outlet um I was like won the lottery and that I grew up next to a children's theater in Omaha Nebraska I'll be ending it for children's theater in my little Catholic grade school we would go on field trips there so from a very young age like kindergarten we would take these field trips to see these shows I was exposed to live theater at a very young age and then I don't really remember that whose idea was it was my mom's or mine but I started taking classes at any Gifford it had an acting classes and things like that so I had an outlet from a very very young age which was pretty amazing and I think when people hear Omaha Nebraska they just imagine like Willa Cather like the plains there's like house rolling around but there is actually things to do there Rob yeah real thing I've never milked a cow in my life or slaughtered one um so yeah so I had this crazy outlet all growing up and so when I told my parents that I wanted to be an actor that I was going to move to New York to go to college it was not a surprise to them because they had years of me doing it already yes yeah yeah much like my coming-out to them was like uh-huh they're like yeah we already do yeah we know tell me about the Doug and Laura Mars Brady Bunch plays oh jeez John Norum are Laura mmm was this great is this great actress that worked at any Gifford and she was in the first show that I was in I believe she was in it um and they ran this dinner theater which was now we would say with site-specific because it was actually like in a diner so Doug was a playwright and they would if they couldn't find I mean there's only so many shows that took place in the diner um so Doug started writing shows about it would take place in this diner and it was like very popular in Omaha this theater it was in it's crazy I just sort of took it for granted that that was a thing that happened often that like he was here says playwright who's writing these shows and we're producing these you know new works in this crazy space but they did they did have a I want to say a misstep but um we did do like what if the Brady Bunch owned a diner um yeah yeah so I played Greg Brady and yeah I wasn't I wasn't maybe my finest performance but I did have a good time so wait so that wasn't the Dundee dinner theater no good then you went to any designer first right there was so many dinner theaters I mean dinner theater is not really a thing anymore but it's a thing it was a thing in Nebraska so the first show that I ever like got paid to do was on Golden Pond at the firehouse dinners later which was a firehouse that they charged a dinner theater um it's now sadly a brewery so that's disappointing but it was for a long time with this dinner theater and I played the little boy in on Golden Pond and I did it for like this the whole summer and it was like a total dream come true that I first of all was the only child because I wanted to be like extra special I don't want to compete with other kids so it's just like me and a bunch of adults and it was like so fun so that was my first like professional job but then there was another dinner theater that also like the Dundee the Dundee dinner theater which is now number dinner theater family um but I did a lot of shows there and it was just sort of I went to an all-boys Catholic school that didn't really have a drama department yeah so I couldn't do plus I didn't like the idea that and nothing against high school drama but like you would rehearse for like four months and then do one weekend and I was like oh I don't want I knew just like I just like I can't do that I wanted to need to perform more so um so I started doing like community theater fed and that was my my outlet I love it I wasn't brought up on dinner theater so I was just you know so I mean it was a real thing like along how many people dinner theaters thank you I wish they'd bring the back right well I have to say to do I got my I got my Equity card in New York at the Westchester Broadway dinner yeah you in Elmsford New York which their fonts at the time was was just her Broadway um and if anyone in Elmsford was going to be confused throughout just production value what was the show would you rate the musical Jay would you play my duty okay yeah great song great song magic changing yeah got my Equity card there's nothing like four hundred dollars a week but that was a big deal it was a big deal yeah it was a big deal when do you got your Equity card your your pay went up to 405 whoa rolling in it $5.00 for Ivan Elmsford you have this truly wonderful career so let's chat about some of the highlights okay I just aren't we aren't we talking about my time in the dinner theater that's not very totally that's your early career all right mr. Tripp photos of yourself and all these shows did your mom Hill thank God no effect you don't god no because like I mean no I think there's there's I mean they must be someplace but you know before like digital stuff so thank God I've had people ask me like for interviews like do you think you could your mother could scan some photos like are you out of your damn right do you think my mom is a scan of photo no not happening would take years to explain that and then to email it totally so happening but I'm in a research Dungey and firehouse I wouldn't go glit around and just see what comes up on there okay so just tell me what comes to mind either a story or a favorite never again your Broadway debut hairspray hairspray Wow yes I joined I believe it was like in their third year I've got the role of the pivotal role offender what no I was trying to figure out fender is the nicest kid in town who wears the glasses um so I yes I replaced this guy named John Hill and I went in and I was I understood corny Collins and Link Larkin and this this role the the male authority figure is what it's listed as so it's basically just like the character guy who plays all the different parts and they assured me that I would never Jim J Bullock was playing it at a time and they were like you'll never go on for that I went on all and it was just like bad wig after bad wig and leaving like I'm a character actor at 22nd and I remember one the first time I went on or maybe the second time and I did my whole like he was mr. spritzer the hairspray president and he had the big like Tracy Turnblad he won and I had to do this whole speech and Julie - --is-- tit and Julie Halston offended with you know Julie halter right she was also in the show and she looked at me she said this is the saddest night on bro that [ __ ] oh yeah yeah she did it was a lot but I did I did also go on for Link Larkin a lot so when Richard Blake left video I got to replace him so that was a big win for me was to be a lead on Broadway then so was there a malfunction your first night on Broadway with the scrim yeah the automation because everything has so many like bells and whistles now is my be no furtive the for everyone else it was just a Tuesday night in like January for me it was like my lifelong dream come true of being on Broadway so it was and I will tell you that I felt that hairspray cast at that time some holdovers from the original they were sort of phoning it in at that point it was like a Tuesday that couldn't be bothered with a new kid so maybe not the warmest reception but I was standing backstage and we're doing good morning Baltimore and we like a lineup but more like the denizens of Baltimore and I close my eyes and just I was just like this is it like you got the thing that you wanted and I close my eyes and I was just like being grateful for a moment and I the scrim was supposed to come up and then it was like good morning Baltimore I opened my eyes and with blackness total blackness and I was like I died I died I was so happy I died on the Broadway and Becky Goldberg was sitting next to me and she was like she was like that sometimes happens in the automation she's like we have to stop the show sure not they were like we're going to stop the performance and we had to do it although opening all over again and I was like shaking so Chris re Andrew I was like no it's time Oh God so the rest of the show is like a complete disaster for me and I was like always in the wrong spot I was so nervous but yeah eventually I pulled it together well that's worrisome terrible awesome next was playing Bob Gaudio in the Toronto production of Jersey Boys first why didn't she wait all over the place I mean we started in San Francisco got it it was a new company they had started that was eventually going to go to Las Vegas but Jersey Boys at that time we were like the fourth company so it was a little like being in the Army like they would just like move people around so while I was in San Francisco they were like Eric Bergen is going to go to Vegas you're going to go on tour and then you're going to open the Toronto it was like this weird and it just was like that for I did that show for almost two years I just kept moving around which was great because it did it was great to work with so many different people and I made so many friends doing show and people who were you know still very much part of my life and working all the time now so we started in San Francisco I went on tour for a little bit I opened this Toronto company and then I came to Broadway for the last six months strangely enough to replace Sebastian our Seles his Stephanie blacks husband such a small world um but uh yes there was a lot of bouncing around but I think that was I looked that I was so happy doing that show and I I just think that's such a perfect musical this is a great weird story and that music is so great and um but particularly the end of that that my last six months on Broadway was such a great group of guys Jared Spector and that Bogart and Dominic no-fee and I just completely fell in love with all of them and would have been happy doing that show like forever and ever but as circumstances as they were I ended up leaving and doing other things which was initially really terrifying and then turned out to be great but I loved doing that show how did ya then there was your breakout role of elder price you can comment on that wait wait you're legal about my star turn as Chris and Miss Saigon in the Finger Lakes let's well let's let's go that's not let's not come on let's not do this okay let's go we're are the fingers here's what people are they up north here's here's what I just think is important particularly for young or actors to know which is like one job on Broadway is not a slam-dunk for the route of your career to shows it's not a slam-dunk so in between these periods of time that are very tightly wrapped up in a bio there were months of sheer panic and unemployment and it was terrifying so after Jersey Boys which was like the greatest experience of my career at that point I left it was just like a limited thing I've been in the show for a while I was on Broadway for six months and then I had nine months of basically just like basic unemployment before it that true maybe six but then I was like doing readings and workshops and a lot of some regional stuff but it was a lot of piecing together a career in that moment waiting for what was maybe going to be this next big thing so I think it can sound a little like easy yeah and I sometimes when I know young actor wants to hear this but it's not it's like a marathon it's not a it's not a sprint so you have to be prepared to like really muscle through some like dark times because yes there's some Broadway and then there's some Finger Lakes and let me tell you it's very different um very different um but you have to like do that I think people sometimes get discouraged that your career sort of goes like this but that's just the way it works man and I like been around long enough now that even people who when we were I used to get really frustrated when I was in my early 20s and I was working with or friends with people like Gavin Creole and who was like just moved to town and tony-nominated and it just like happened right away and I was like why isn't that happening for me but the you know what I learned was like if you stick it out and you keep doing what you're doing and you just like really focus on making yourself the best version of yourself that you can opportunities will present themselves but it's not going to be smooth sailing for anybody um so that's an incredible piece of advice I know seriously um could you look at BIOS you Jam files uh no how many words you're allowed now whatever they are but it's all done the highlights and no one realized what happens in between there's some sad times in between the Finger Lakes yeah the finger-like yeah but then there was representing there was let talk about the breakout row here we go again Book of Mormon that was yeah yeah it was a big deal you received your first Tony nomination I did indeed okay created by Trey Parker and Matt Stone of South Park Bobby Lopez I mean how did that show change your life in your career I mean I it changed everything I mean I didn't think that I would I all wanted to open a show on Broadway I wanted to like originate a role and I was working at the Paper Mill Playhouse I was doing Smokey Joe's at the paper mill and I was working with this actress named Maya Wilson who had been in the workshop of the Book of Mormon and she said they're replacing the lead and you should go in and I was like I'm too old it's he's supposed to be 19 I can't do it I was like talking myself out of it she was like just go do it like just don't you don't worry about it just go do it so I went and I auditioned for I auditioned for the show and it was it all happens very quickly actually it was only a few auditions and then all of a sudden we were doing this workshop and then we had a little time off and then we were in rehearsals for the broad I mean it just it just kept moving and we got to the excitement of opening night and then it seemed like moments later the Tony Awards were happening and then I was performing on the Tony Award and then this woman named Lena Dunham saw me in the show and put me on a television show and then Ryan Murphy called and like he had a chauffeur I was like it was just it all that first year flew by in the craziest way because it really did just present all these bananas opportunities and you almost taught yourself out of it well I thought when you said that I was like and I didn't know anything about it I just I got it was made me nervous but then the second I got in the room I was like no I want this yeah and I'm not letting this one go how secretive were those auditions crazy you couldn't you just had to go in and and sing and then they gave you like one page aside that was a very vague and you had to give them back and then I came back they asked me to come in and read the script but I couldn't think wouldn't email it and I couldn't take it with me but I just like sit at Jim Barnes office and read it so I read the script and then went back again Jason Moore was directing the show at the time so I went back for Jason and met Trey Parker and Matt Stone Bobby Lopez and and then they flew me to Los Angeles to meet Josh dad which was really weird because like no one gets to LA for a musical audition so that was very strange but I went out and I met Josh and we just like hit it off and had a really great time and that was it yeah yeah it was a perfect melding of roll yeah an actor well and generosity that Trey and Matt were and Bobby were willing to shape these parts around two unknown actors so Josh and I you know were given to really a long leash to sort of figure out who these people were and we would show up the next day and Trey had like Trey was watching us Trey was like looking like figuring out where how we were funniest and he built those roles on Josh and I and Bobby wrote that music you know all of a sudden I was singing songs like perfectly fit my voice and I was like this never happened and it was it was incredible but they were so generous with us because we hadn't really done a lot at that point and the fact that they trusted us with that show is amazing amazing it must be so rewarding as an actor to be a part of a brand new show that's created for you it on you yeah it's really yeah yeah it's unlike anything else you know going back to auditions we have a lot of actors in the house and a lot of actors watching out there and a lot of them say I had talent but I'm not good at auditioning yeah did you like to audition or do you like to audition I don't mind auditioning but I will tell you that it took me was after Jersey Boys when I figured out sort of that I was cuz I felt like I was like oftentimes as an actor I think you second-guess yourself for your performance and you're like I don't think I'm great in this or I'm like you just feel a little insecure but for whatever reason I think cuz I got to do it so much with Bob Gaudio like oh I sort of found a stride like I was like I figured out what I thought what I sounded like I figured out what I looked like how I was funny how I was different from other people when I came back to New York after doing it on Broadway I'd say I just started auditioning differently because I realized that I couldn't I'm not a chameleon I'm not Meryl Streep I'm not going to like disappear and people are going to be like God would never have guessed I was Andrea I'm I'm gonna do my thing and hopefully if it lines up with what their thing is that I'm going to be the right person but I can't try to make myself into something that I don't know what you're looking for so I can't I can't answer that question for you but I can do my version of your thing the best I can do it and hopefully it will line up but it didn't you know I got close to a lot of shows before I got the Book of Mormon and you know it it all worked out the way it was supposed to obviously but I felt like a certain ease when I was auditioning then because I was like I only do what I do and I can really only compete with myself for this so as long as I did my best I felt okay about it because I mean if you go in and you're not warmed up or you don't know your material you don't then that's on you that's your problem but if you go if you know it all and you go in and you nail it then like what else could you do god what else could you have done be prepare to be prepared you can do yeah because we took we I asked a lot of actresses they're like you know when you're at home you have those notes they're perfect on the train you have those notes you know you know in the auditioning outside the auditioning room you have that note then you go in the audition room at the notes not there that happens and then you have come out of the audition room in the notes back yeah how do you deal with stuff like that if that's ever happened to you well you have to I mean you have to let it you pick forgive yourself first of all like if you if you blick blow an audition or whatever like that's you got to let that go yeah if you have like you know you crack or you forget a line or something like you just have to move on because there's gonna be a lot of them so forgive yourself perfect advice thank you for that sure you return to Broadway and we're phenomenal when you stepped into the healed and donned the wig of Hedvig replacing Neil Patrick Harris and Hedwig and the Angry Inch yes yes yes how did the role come about for you I was in New York filming our third season of girls fourth season of girls and uh I got this it was before right before the Tony Awards that year and I was having lunch with my friend Cameron Adams and I got a phone call from my like we just got the craziest call do you want to replace meal for two months in Hedwig and I was like yeah yes I do want to I mean it was thus I was like yes yes I want to do that I had played the part in 2002 in Austin Texas and the theatre called the Zachary Scott which is a great theatre and so really oh here's muslin it's a fantastic theatre right and they do beautiful beautiful shows there and I audition like through a backstage casting notice got the job I moved down to Austin for like four months and did the show but I just love that show so much and love that music and it's just such a crazy story that you get to tell and so I just said yeah I said yes of course I'm like would you want to see the production first I was like no I'm good and then I saw it like the next day and I was like yes of course this is this is exactly what I want to do so and I was really fortunate with that because you know sometimes as a replacement like the original team has moved on to do other projects so I was put into the show by this really talented guy Charlie Williams who's was the Spencer lifts associate Spencer Liff who choreographed falsettos but he was already you know working on other things so Charlie Williams popping into the show and then John Cameron Mitchell who wrote it and played it first like he came in and helped me which was I mean I couldn't ask for a better experience than that and he really gave me permission to say like you know to figure out what my version was so I didn't have to do what Neal did because Neal has a different bag of tricks than I do so like we had to figure out what who my Hedwig was and John was so generous and so patient and I just felt amazing that I had his trust and doing that because it's obviously I mean no one does it better than John so the fact that he was so generous with me was was really amazing is it a beast of a show to do yes yes but so rewarding and the hardest part honestly for me it was the was the hair on the makeup that was like the toughest thing to get around because you're so restricted and the costumes were really restricting and you couldn't so by the time people are like isn't that hard you have to be in your underwear at the end and I was like no it feels amazing because you just like rip off all that [ __ ] and then you're like thank God I can just stand here at my little leather underwear and it was great but I know it's such a beautiful arc and it's scary because you're the one who's responsible for it like you are the engine of that vehicle so it's um it's scary to start it but once you have started it's it's so rewarding what do you remember about the first time you saw yourself done up head-to-toe makeup and clothes and your first performance on stage it's so crazy I mean I didn't we had done a couple makeup tests but like I don't know if anybody saw that production but it started with a link but it started with like a terrifying thing that was like Neil's fault that you was it was a like a fully harness like a flying harness and they flew you up to the top of the proscenium and then dropped you down from the center so not only was I in this crazy getup I then had to put on this weird like jumpsuit and a harness and then like dangle above a stage like you know 50 feet in the air it was not my favorite opening of a show it was really terrifying and then you land on a hood of a car in high heels and you're like everything's fine I'm fine I'm not pissing my pants right now I'm really terrifying because how how early did they put you up there on that harness before the health gets in well they took they were very good about about timing it but a couple times more than once and one time that you know because it's not the science I went up and then it wouldn't move so then I had to come back down and we had to die just had to like walk onstage like why can't I just do this every night seems like I'm save money you're welcome Bob Wankel like just got that voice thing let me just walk out but now I still have to keep doing but it was scary because sometimes it wouldn't work oh no because there was no show curtains so they take you another way and they move you over you did I go under I think there was a pass there was a so they don't take you up until almost time for you to go yeah you there was a pass around you know from the in the back of the set and then we got in the harness and then we flew up and it was we thought you were there like before the house open no the house over at 7:30 8 o'clock the show they are able I got read up they are flies you around yeah it's very scary I have to go to the bathroom before you go on and not care for that but the rest of it was fine okay you were known some millions of fans around the world for playing Elijah on the hit HBO series girls yeah you told me how you got cast they come to see you they came to opening night at the Book of Mormon Wow yeah okay so what was it like being on the set and working with Lena well the first day it was supposed to just be one episode I had one scene with her um I had met what didn't I was not the right type for the part but um they had seen the show and they asked if I would come in anyway so I came in and I read and then they asked me to stay and just like improvise some stuff with Lena Dunham so we just played around because I had seen tiny furniture but I had not just no one had seen the show yet no one didn't see the pilot of the show so I did have a lot to go on but she was like it's no we can do whatever we want like I wrote it we can do whatever everyone so I was like bye so we just sort of played around and and then they called like the next day and said would you want to come to this episode and I was still doing the Book of Mormon and they were able to do it on like a Monday woods which is my day off so I went and filmed it and Judd Apatow was on set which I was like that's not making me nervous at all but his judge sauce playing around with each other and how sort of comfortable we were he just started asking us to improvise more and more and he would give us little things to to go off of and you know pieces of backstory that that I didn't know and or just making things up about who these people were and and Lena again just so generous and so amazing and to watch her not only have written it but starring in it and then directing the episode was really crazy because she was 24 at the time and just had such grace and strength and maturity and just really command that set and a really beautiful but collaborative way yeah it was it was amazing and then to keep they just kept asking me to come back and do little things here and there and then before I knew it I was series regular Elijah yeah I mean the timeline was a little tricky because after the first season wrapped was around the time that I met Ryan Murphy and I talked my way into that show there was no he had just sold it to NBC but there was no script yet um and I was like well what is it going to be about and he was he said it's kind of about the gay couple who gets a baby through a surrogate has a baby to forget and I said I would like to do that he's like what do you think why do you think you should plan it so I just like out of nowhere like was like well because I them AB gay actor and I feel like you should hire a gay actor to play that part and it's a story that I want to tell and I feel like I would treat it with a lot of respect and he was like McGann um and then I didn't hear from him for like two months so I was like great really messed that one up just being a little too ballsy there and then he called he calls this is like my like a great day for me because I was at a matinee of Follies to see Bernadette Peters and I was about to walk in and my manager called and she was like Ryan Murphy called and you got that show they want to cast her in the show so basically I just sobbed through all of Bali's anyway because I was already excited to see Bernadette Peters but I was like I'm gonna do it joke and I just like wet like I must have looked insane and I was alone just like yeah stupid hell's our pride alone sobbing Bali's fans cry we did I must really be losing my mind I'm not incredible the whole show no clue what you're talking about I love the new normal a credible show yup man you got to work with Justin Bartha Ellen Barkin Phoebe would baby would ya and the other woman could play the surrogate mother Georgia King loves so woman nene leakes daily I mean what it create can raise a group yeah what was fun because Helen had just done the normal hard way and I had been seeing her at all these like Tony luncheons and these events and stuff so I was already sort of in shock that I was becoming friends with Ellen Barkin and now here we we were gonna do this show together so it was really crazy knowing her ahead of time was really great but so he had shot so I you know said yes I was going to do the new normal shot the pilot it got picked up and then I shot a few more episodes of the second season of girls went away to LA shot 22 episodes of the new normal it got canceled and then immediately I went came back to New York and just want to right back into the third season of girls because it just magically lined up in such a way that it show got canceled and Lena Dunham called me within ten minutes and was like just come back oh and just come back to the show and I was like how is that possible you must have already been like written so much of it she's like noble to fix it well disable this work you in and they did no crazy that usually doesn't happen no it never happens I've had many people in your chair that like I try to do a show I try to achieve you so I won't come back to Broadway not just due to TV shows it was really crazy that it timed out that way because you know it's very stressful for - going from being in a position of asking for work and auditioning and like basically begging to then having this having to make a decision to be like why am i they're going to stay in this show here in New York or try this new thing in Los Angeles with these people that I don't really know but it might be a cool opportunity to tell a very specific story that no one is telling and I had to choose and it was really hard but so the fact that I actually ended up getting to do both and of course it would have been nice at the new normal was more successful but I feel like we told the story we wanted to tell we had a lovely audience that supported us quite a bit so we got we had the experience we had the baby my big fear was that we were going to be canceled before we had the baby but we had the baby yeah so full circle and full circle I loved it so girls was your first on-camera job sort of yes sort of my first on-camera job I played a headless stripper in Sex in the City penny can watch Sex in the City I'm sure Evan but people have there's a scene where Charlotte and Mario Cantone whose name would forget his character name or in a gay bar and the scene starts with two men and speedos like dancing on the bar and I was one of the things headless and at the time I was a little offended and then quickly I was like I think it's better than my head's not in it even though it was sex in the city I was like I think maybe it was gonna work out okay um so technically that was the first time your head showed on was on corner okay so that my question is coming from a stage background what were those first few days like being on set learning camera and all of that well that was what was so great about Lena was it was early enough in their season and she was directing the episodes so she was having to watch they call it playback where you just like watched what we've just shot now normally directors don't say like hey actor you want to come watch what you just did because it just makes you get in your head a lot I think yeah but I asked Lena kind of because I didn't know any better if it would be okay and I just explained that I was like look I've never really done this and I'm going from the Book of Mormon in a theater that was you know 2,000 seats and I just wanted to make sure that I wasn't embarrassing myself or wasting her time so I was like I think I would just love to autocorrect whatever I need to so she was like sure and I watched the first couple takes and it was just like minor things you know what Laura Linney um came to see the Book of Mormon and she was so nice and came backstage and chatted with all of us and I asked her about because she started in the theater and then was you know it has done a ton of television and film and but I asked her what if there was a good trick um and she said to me on stage when it's supposed to snow you have to like make it snow in your mind you have to like create the cold and sometimes the actual snow and and in a movie they just make it just snow so then you just have to be in the snow like just just think the thought and it shows up on your face like you don't have to do anything else um and she was that I remembered that when I was doing that first episode of girls because like you really do use such like think about something and not think about something um even though I did plenty of that on that show too you know like I was really subtle um but it was a great that was like the the big correction was it it was just sort of bringing everything down a little bit yeah cuz I've asked everybody who sat in this chair like Jonathan Groff said the first time they did the Angley movie they were like laughs laughs laughs and Jonathan's like if I do anything less you're not gonna see anything you don't have to do anything though you ever have to do anything it's you read it your eyes if you think it you'll see it on camera yeah so you picked it up right away sort of how it all works kind of yeah and it was really helpful to be doing it with Lena because she was sort of I could ask her anything I could ask her what that meant I asked her what turnaround man I could ask her what you know don't you um what like they were saying like I was this it's it's over you you're that's dirty well we're gonna know what that means but it mended like my shoulder was in it it wasn't like clean of me so it's like little things like that but I I would just ask her I was like what is that what does that mean just really she just told me oh look helpful help all the be friends with the director yeah but you had this incredible relationship with her and you bonded from that very first day you really did yeah yeah it really did you also step into the role of King George in the lin-manuel Miranda musical juggernaut Hamilton F a hick for Jonathan Groff I bailed on Bram because he went out to do the final thing of look like that set Blea some up of that what was it like for you stepping into that show a show was already running um it was terrifying uh because it was a huge hit I had not seen it I was on the waiting list for how seat and much like Hedwig I was back we had wrapped girls for the season I was back in Los Angeles and um my agent um Chris Hyland at UTA 7 email that said in all capitals Hamilton offer and I was like oh that means I am I going to see it have they offered the standing room like what am i what's the offer I knew think you need to call me immediately and I called them and it would play with another one of those I was like yes obviously I'm going to do this I don't need to see it but they sent me like a bootleg essentially a Brian D'Arcy James singing the song at the public and they were like this is the song just so you know and I was like yeah that seems that seems great but five weeks to be in this huge hit I was like yeah I'm gonna do that um so it was very and then I got to see it because I got healthy yeah but I was [ __ ] that was good but I'm know it's crazy but it's a very it was right before or maybe right after the album came out so not ever it hadn't quite reached some asses the way that it did later so not everybody so that role is tricky because all of a sudden the show just like stops and this guy comes out and it sounds nothing like the other material so for the first like minute you're like how good and then what's going on and your ear has adjusted to the other style and now you're going back to this very traditional thing so it was stressful watching the audience be like but then once I got the hang of it it was fine yeah because we had the Hamilton cast here last Friday yes well I had a it yes it took I mean you're giving me real PTSD here but I in my like fifth performance forgot the lyrics to you'll be back maybe isn't right um and it was like it was just because you know they all you sing a song three times but it's different every time and I just like we call it going into the white room okay Theatre yes where you're like what's going on what's happening right now and with another one of those things where I was like is this what death feels like like I feel like I'm dying right now and I just couldn't nothing was coming out of my mouth and then which has never happened to me before and Alex Wagner Moura like two seconds probably went by but he knew exactly what was going on so he shouted the lyrics to me and I was able to get back on but by that point I just had like full flopsweat and there was like nothing there was no way to actually recover um but I finished the song it was fine and just by happenstance one of my best friends Nicky M James was in the audience that night and she came back afterwards and she just like she was like in a ball on the floor and she was like I'm sorry for you I'm so sorry for you and I was like how bad was it she's like she's like I mean nobody she was like nobody else probably knew but um she knew what was going on she knew what was happening was terrifying everybody who was here in that this chair last Friday yeah three four times they would go up and they'd say we went to the white room yeah you know tell her yeah it's um I mean look and I had the easiest job of them all but you know so much of that music it's so dense that like if you get tripped up you're I mean that's the end so they have a very difficult job over there but it was it was stressful I mean you know it's unlike the Book of Mormon in that I got to you know start that from the beginning so being on the inside that it was it felt very safe and hedwig I got to sort of control that TRO once I was doing it because it's just me so that even felt safe but this was just like a weird animal but they were also generous and really really fantastic but it was terrifying notice even some of the ones over here from the very first link the first recording the person every the first read through the like oh they all go up yeah they would all go up so it's very very funny I blame Lynn otherwise they did - absolutely a big kid one of your latest films is the comedy why him co-starring opposite the likes of Bryan Cranston James Franco and Casey Wilson mm-hmm playing the role was a blame Putterman it was blamed Putterman um come on um yeah there was a it was a that was a really crazy experience I mean I'm such a huge fan of Bryan Cranston yeah um and just respect him so much and I think he has the coolest career ever um so it was really great I had like two weeks to hang out them know most of what I did in that film was cut out of it just because that's sometimes the way this was um but it was I've been like I've only done a couple of movies I did right before Hedwig I did this movie the intern that Nancy Meyers directed with Robert De Niro and Anne Hathaway and and that was a really good experience because it was like a huge budget film with Robert De Niro in it and Anne Hathaway and Nancy Meyers so it was gorgeous and she also much like Lena you know was writing directing and producing that that uh that script so it was an interesting kind of introduction about how film works so by the time and I was very nervous on that set most of the time but by the time why him came along I was a little more relaxed and could actually like speak to Bryan Cranston in full sentences which was helpful just to be able to like talk to him yeah it's a crazy medium because all the stage actors who we spoke to say do go on the set you you get on there like 8 o'clock in the morning you may not shoot till 10 o'clock at night and no one tells you it is very strange because yeah the pace of television is so fast because it has to be and there's not as much money behind it but you know when you're doing a huge I don't know what the budget ended up being for the intern but it was a lot yeah um and you could take time like a normal TV day a busy TV day for us that girls would be like seven pages and sometimes I would come to work and it would be to or be like one and a half and I was like that's crazy but you just have the luxury of of taking your time with it and you know it's a movie so it's going to be you know Nancy has a very sort of particular style to it too so like everything looked a certain way and felt a certain way and it's a beautiful film but it just took a little longer to figure all that out there's a lot of actors we're here like it depends on what director you work with or are the actor like don't talk to the active beforehand like you're going to go and you but you're just gonna like do the scene no it's like I'm just going into the courtroom you're the lawyer I'm just gonna shoot the scene to keep everything fresh I've not had any sort of I mean Anne Hathaway's one of the loveliest yia humans on the planet so she was very friendly and very and she was also really sweet because I was still doing girls and I was in rehearsals for Hedwig and then somehow was able to do this film and she was just really great and conscientious about asking me about girls and that's a about Hedwig and how I was doing in the heels and like all those like she was really lovely and Robert De Niro's was fantastic and that whole why him cast it was Megan Mullally was there James Franco is just like a dreamboat so like no fun to get to look at him for two hours today um yeah it was a nice look I've been lucky yeah you also have an extensive voiceover career oh dear Joe yes well voiceovers that was something I started at a very young age I was fifteen when I did my first series in Nebraska weirdly it was the Disney series called the street sharks that um was like a busted version of the Ninja Turtles and but I did it for like two years yeah we recorded it in Omaha weirdly and then that company kept bringing shows to Omaha I now know that it was because everyone was non-union I didn't know what the union was um so at 15 I didn't know any better and I certainly wasn't thinking about like health insurance so my parents didn't know about any of that you know acting unions now I realized that was the reason they were in Omaha but it gave me a lot of exposure to doing voiceovers and a lot of experience doing it so when I came to New York and then was able to in between all these theater jobs I mean that's really how I kept myself alive was doing voice-overs some of them are terrible but but it's a great job it's a great gig if you can get it so yeah you have a favorite voiceover that you do or that you did um never turn I mean some of the character was so weird I did get to be Archie in the Archie like comic book series that was fun but a lot of them were just like really weird like Pokemon you Yeoh stuff that's also how I met Stephanie's husband Sebastian yeah was doing all of that stuff so it's a lot of like yelling and like we all played like a little like twelve-year-old boys just like shouting and blow it out and at least it's like that for hours our day - dude it's like screaming I can't but I had no choice I had to do it they pay well they paid well I mean then put that well but um would you go going like this blue change in it to be made-up or anything you two sat in your boot now anything right the thing and I worked with a lot of really talented people that I still work with and still see around and um but yeah it was it was you know again that goes into the file of like things that you don't know people do and you know I have to give my dad credit for this because my dad was like a real movie buff and a real he loved movies he loved TV um and sometimes like I would say like I would ask about an actor or an actress like what happened to them and he was always able to like track them teaching me that like nobody disappears or sometimes people do disappear so it's like it was just an important lesson about like longevity that he would like show me how like where people would go or like sometimes that person from a movie is now on a TV show or sometimes they're on a commercial or sometimes that person from a commercial is now in a TV show and like he just made me really aware of that are you how loud works and that a career he wasn't saying that to me like if your career is gonna take you a month of different places but but that's what I learned from it was that there has to be a lot of diversity if you want to keep this going and that's why I think I'm drawn to actors like Bryan Cranston and and out who have had like really varied careers and they've done really crazy different things and there's period of times we maybe don't see them as much and then all of a sudden they're nominated for awards and they're doing amazing things and so yeah that's what's that's what's interesting to me is people who get to do a little bit of everything yeah yeah we have a few questions from the audience of what one of them is falsettos was such an emotional experience is it hard to disconnect that emotion after you leave the stage yes yes it is it was really hard and it took us a while I was I had went through a breakup in the middle of that show which was really hard and telling a love story every night was like devastating but doing it with Christiane and with Stephanie and with Christiane and Brandon your enamines and I all had dressing rooms on the same floor so we would come up and before we would like speak to anyone usually we would like pour ourselves a little something and just like take a moment to be like well that happened like just give yourself a second and you know just have a moment to sort of like breathe through that because it is it's not something you get to shake off and be like oh so we had to sort of take I learned how to take care of myself I think as an actor because it particularly I think there's like a urgency to like do the stage door and do that and you want to you know Sparkle for people and like take the pictures and shake the hands and do the stuff like but that takes a lot out of you and particularly with the show like that was like sometimes we just couldn't do it so I learned how to like sort of forgive myself for that and also take care of myself because another question is was your self-care on a show like full Seto's being so emotional is it harder on a show like that than a typical musical comedy yeah yeah this was the first time that I didn't ever really worried about my vocal performance which is weird cuz the entire show is sung but I was so I think we were also invested in telling that story that weirdly even though we had to do it singing the singing part wasn't important to me it was more about telling the story part it's still very stressful to sometimes have like a little cold or something and be like I don't know if these notes are going to come out right but because the story was so beautiful I knew that my you know even if I did crack on a note or something it wasn't going to destroy ya the storytelling that we were doing so it was different it was a different type of preparation to to get into that headspace particularly for that second act because once all that starts I mean but it was so brilliantly put together I mean for those of you who didn't see it the set was you know we didn't really have much of a set and then as the story becomes more real David Rockwell and James Lepine had this brilliant idea that the set was all of a sudden going to become real so by the time wizard end up in the hospital we were in a hospital room and there's a hospital bed and there's IVs and there's machines and so just being hit with all of that all of a sudden putting that IV on every night getting into that hospital gown like that in itself was enough to sort of smack me into the the right headspace but Christian really was that's the magic there being with him yeah don't the questions how much downtime did you give yourself during falsettos with doing eight shows a week um downtime just likes like during the day down to neligan's like I minded prepping for the show we were all pretty busy during the day but um you definitely do sleep more and you have to sort of give yourself permission to do that and if you wake up it like 11 o'clock in the morning like you have to sort of forgive yourself these like sometimes I wouldn't set an alarm and I'll be up by 8:30 and there would be 11 and I'd be like oh god I feel like such a deadbeat but you have to sort of give yourself that because you're working really hard at night and not to like you have to forgive your not forgive yourself but realize that your schedule is the opposite of most of the world so all of a sudden you're doing night shifts and a lot of heavy lifting so it's going to be different you know you shouldn't be expected to wake up at 7:00 got it god forbid how did your experiences differ with shooting a show like the new normal in California as opposed to a New York shoot like girls personally and professionally well personally like I just love shows that take place in New York I love the look of them I love the feel of them I anytime we got to shoot on the street was like a coolest day in the world for me because it just felt like like I'm on Second City um I just loved the energy of the city that I don't know I just loved I loved doing that the biggest difference between HBO and a network like a NBC is the timing so we had a lot of time to shoot girls because it didn't air for several months after we finished it but in the new normal we had five days always that was it five days and sometimes we got a little ooh if we got behind occasionally we'd rap on a Friday and that episode would air like a week later Wow so it was pretty crazy and that was a thing that I took a little adjustment it was more like theater actually because it was more just like banging out and do it but you didn't have the chance to like maybe you know play around as much as as we get to him on girls yeah is there a dream role you have on your bucket list to play onstage from a classic I was just talking to Mickey James about this because I feel like now neither one of us have gotten to do a lot of Sondheim but I was like the great thing is is like now we're like aging into like of they're really good like if I can just like white-knuckle it's a Sweeney Todd I go start smoking maybe and get my voice a little deeper um or like a little night music that one would be a dream to do that like all the the I realize I saw that brilliant production of the Barrow Street on Saturday and I was like well while I'm not a Anthony anymore maybe I can just wait it out in place we need to have one day so that's the nice thing I you think I used to when I was younger there's a panic about like I was getting too old to play certain parts I was missing certain like I'm never going to be Henrick in a little my music but I could be the dad so that's a nice reassuring it's reassuring what's the hardest thing about performing on stage versus on screen and vice versa switching between the two mediums um a lack of control you have over the story telling yeah because the your performance is in the hands of an editor ultimately so you don't get sunk you get to say like that was my best one please use that like you don't get to do that so they're piecing together a lot of your performance and you just have luckily it girls we had a really weird wonderful editors but I remember thinking that sometimes that the in the new normal that and it was not in a terrible way which is like all that's interesting that that's the one they chose that that's the way it and you just don't have control over it and at least on stage even if James Lepine said don't do that thing with your hair maybe he never said that but maybe he did um I could still do it I could still like sneak it in if I wanted to um and that was my choice because ultimately it's if when you're on stage like up to the actor to you know to tell the story and play that part so no one is going to stop you and be like no no I'll do that differently you might get notes afterwards but you get to control your performance on stage yeah yeah if you could sum up the best part of the experience of working on full Seto's what was it for you that cast that group of people that we well and beyond the cast were working with James and and with Spencer and we created a family and that's I think that as that term is used a lot in the theater but we really did and we like we ate a lot of our meals together and we went out after the show together and we like we would arrive I've never had the experience where you know Stephanie and Brandon and Christian and I and then other people as well but always the four of us we would arrive an hour before we had to be there just so we could like hang out and catch up with each other like we actually liked each other that much that we were coming to work that early just to hang out which is kind of crazy um but I loved every second of it and it was just like I think we've all sort of really mourned the closing of that show in a really deep way because we nobody had had a had a experience like that before yeah yeah but that group made the whole hope difference going back to girls for a second yeah do you have a favorite episode um I mean I think for me the episode that I felt like I was really a part of it and I felt like I was I sort of was maybe even good on it which was you know I just didn't think that I I don't know so being insecure for like the first several episodes but by the second season when Lena and I as an episode where Hannah wants to try cocaine for the first time and we were running all over the city doing fake cocaine and like with the club and like a drugstore and you know it was like this crazy episode it was so much fun to shoot and we were doing a scene where we were both like doing lines of fake cocaine off of a toilet seat and I was like it doesn't get better than this because like Lena was so she was just so fun and their director of Jesse parents was like amazing and in so collaborative and fun like we were just having the best time and that was like I was like I love doing this and I love these people and it was hard because then like an episode later was my last for that season and I was moving to LA which was more traumatic than I thought it was going to be but it was it was a great sort of send-off initially was doing that episode yeah you've been on this incredible journey with girls yeah it's now ended yeah what are you missing the most um those people those people and I do um it was nice that Elijah got to sort of end on like an up note that he had he won you know he he had a win and he got sort of beat up a lot on that show I think and like didn't I always like know what he was doing and and it was so it felt good that um that he ended on like a positive note but I will I will miss getting to play him and I will miss the stories that Lina and Jenny Connor came up with for me to help them tell and I miss that group as a group of people it's such a worldwide phenomenon everyone around the world watches girls in many different languages why do you think people relate to that show so I think she captured a very specific moment that most people have in their lives even if they don't live in New York City which is that tricky time where you feel like you should have your [ __ ] more together than you do and yet you can't really go backwards like those are you only going forwards but like things aren't changing or progressing or you're not winning as quickly as you would like to and I think she captured that anxiety so perfectly I certainly experienced that for you know for many years of my early 20s or like we feel like I should have nicer things than this I should have a better job I should have a better apartment but if this is not it's not working yet and not quite there yet um and I think that she just she's very honest and very brave and she was able to tell that story yeah yeah my final question is what is the best bit of advice that you've been given either personally or professionally but you live by Mark Ruffalo said to me he came to the Book of Mormon it was so nice to Josh and I and like he's just a very cool guy and he was like do you guys want to get a drink and he was with his wife and we were Josh and I were like yeah we want to get a drink Mark Ruffalo so he took us out to have a drink and he said he said to me and to Josh your career is happening right now which at the time like I was like totally but then the more I thought about it like in the larger sense it's sort of what I was going back to you before about like there's going to be a job on Broadway and then you're going to be in the Finger Lakes one day like your career is what's happening right now it's not something over there it's not something that starts with one job or a trophy it's like it's what you're doing right now and accepting that and being happy with that and being able to like go along with for the ride I think is incredibly important beautiful advice you know I think I met you when you first came to New York for hairspray and for me it's been so great to watch your star just rise and follow you and sort of go on this journey with you thank you so much I want to thank you so much for joining us they're inviting the banking always in the door my world does it get really sensational and it's the best of luck thanks there's a run old thank you thank you very much say dry

Channel: SAG-AFTRA Foundation

Views: 59,616

Keywords: SAG Foundation, SAG-AFTRA Foundation, Acting, Actors, Andrew Rannells, Elijah, GIRLS, THE KNICK, THE NEW NORMAL, THE INTERN, THE BOOK OF MORMON, Grammy Award, HAMILTON, Hedwig, HEDWIG AND THE ANGRY INCH, WHY HIM, FALSETTOS, Q&A, Interview, Career, Retrospective

Id: _1T-tXf_770

Length: 74min 28sec (4468 seconds)

Published: Fri Jun 02 2017