All Of It with Alison Stewart

Episode: Amber Ruffin, Crystal Lucas Perry, and Grey Henson from 'Bigfoot! A New Musical'
Air Date: February 27, 2026
Podcast: WNYC's All Of It

Episode Overview

This episode takes listeners to the delightfully deranged world of "Bigfoot! A New Musical," in conversation with the show's co-writer Amber Ruffin and stars Crystal Lucas Perry and Gray Henson. Hosted by Alison Stewart, the conversation explores the story, creation, and cultural resonance of the musical—a comic yet heartfelt tale set in the whimsically grim town of Mud Dirt. The cast and creator dive into the show's origins, the process of developing a new musical, the making of its offbeat songs, and how it reflects (and lampoons) contemporary issues of otherness and belonging with both comedy and compassion.

Key Discussion Points & Insights

1. Introducing Mud Dirt & The Bigfoot Musical

• Setting & Tone:
  • Mud Dirt is humorously described as "mostly wet and gross and smelly and brown, whose population is steadily going down, whose happy face is a slightly smaller frown" (Alison Stewart quoting the show's lyrics, [01:53]).
  • The town, set among chemical plants and environmental hazards, is the home of Bigfoot (Gray Henson), raised in the woods by his mother Francine (Crystal Lucas Perry) to shield him from the town's prejudice.
• Plot Premise:
  • A corrupt mayor exploits Bigfoot as a scapegoat to distract the townsfolk and fill his own pockets.
  • Described as broad, zany, and hilarious, but underscored by genuine characters and catchy, 80s-inflected musical numbers.

2. Long Road to the Stage

• Development Timeline:
  • Amber Ruffin explains the show has been in the works since 2014: “That’s 1,100 years ago, if my math is right.” ([03:22])
  • Delay due to real-life events increasingly mirroring the plot. “The real world becomes more like Mud Dirt. I’m sorry if I’m a prophet of some kind.” ([03:32])
• The Broadway Development Process:
  • Ruffin describes the unique, exhausting demands: “There's nowhere on earth that requires you to be awake at midnight talking about what rhymes with fart." ([05:41])

3. Casting and Characters

• Gray Henson (Bigfoot):
  • Jumped at the role for its singular, comedic, and heartfelt quality.
  • Reflects on his comedic typecasting: “There’s a through line of sensitivity and, like, sort of honest goodness ... after years of growing up a little gay kid in Macon, Georgia.” ([06:47])
• Crystal Lucas Perry (Francine, Bigfoot’s Mom):
  • Discusses how, despite the farcical setting, the actor’s commitment to full immersion makes the show emotionally resonant.
  • On the townsfolk: “They share a mind, in a sense...but they get to expand on that and learn a little bit more...they actually start to shift and evolve.” ([11:46])

4. Comedy, Music, and Audience Connection

• Comedy Style:
  • The show's humor is broad yet precise, relying on both physical gags and sharp writing.
  • Crystal Lucas Perry on making broad comedy work: “The final character in our play is when the audience is there…A lot of listening, a lot of trust, and it’s just about the assembly of the people in the room.” ([07:54])
  • Stage slaps are a standout running joke: “There are multiple actual slaps in the show…that joke hits really hard. Pun intended.” (Amber Ruffin, [08:52])
• Music and Songwriting:
  • Composer David Schmoll brings an improv sensibility from Boom Chicago, contributing to the show’s “reckless abandon” and ensuring every number is a standout: “Why can’t every song just be a hit?” (Amber Ruffin, [24:13])
  • Songs are written to be memorable, many with the emotional resonance (and tempo) of “11 o’clock numbers” due to the serial competition format from which the show originated ([23:30]).
  • Featured song “Day to Day” is Bigfoot’s yearning solo about craving normalcy and connection ([22:11]).

5. Themes of Otherness, Kindness, and Hope

• Bigfoot as Metaphor:
  • Amber Ruffin sees Bigfoot as a figure for all ways people are othered: “Bigfoot in my mind is a black woman. Then I was like, Bigfoot in my mind is all LGBTQ. Then I was like, Bigfoot is an immigrant. ... Bigfoot becomes, you know, whatever way in which you are othered likely as you're watching it.” ([24:24])
  • The show balances humor with empathy, showing Bigfoot as “more human than anyone,” even as he’s ostracized ([12:44]).
• Mother-Son Bond:
  • Francine’s protective love is central: “She catches onto very early … that’s her baby. That’s the one she loves. And she’d do anything to protect her son, the same way her son would do anything to protect her.” (Crystal Lucas Perry, [15:05])
• Optimism and Happy Endings:
  • The show ends on a joyful note: “Very few things are honest about how bad it is and hopeful, and this show is both. And I hope that combination is healing to people.” (Amber Ruffin, [26:05])

6. The 1980s Setting

• Why the 80s?
  • Set partly for comedic resonance (originally to riff on Hulk Hogan—scrapped) and because the score’s spirit fit the era: “We wrote a couple songs for the show, we were like, this is the 80s, because of the way the show kind of ended up sounding.” (Amber Ruffin, [13:20])
  • The time period reinforces themes of innocence and pre-Internet simplicity: “You only know what you see. I think Bigfoot just comes from such a great, honest place...” (Gray Henson, [16:58])

Notable Quotes & Memorable Moments

• Amber Ruffin on the show’s prophetic resonance:

  • “And then the world started becoming the plot of Bigfoot.” ([03:32])

• Crystal Lucas Perry on audience participation:

  • “The final character in our play is when the audience is there. We learn so much about, you know, what's landing, about what people are picking up.” ([07:54])

• Gray Henson on the heart of Bigfoot:

  • “He is more human than anyone, which is sort of the butt of the joke...everyone else is sort of the monster around this big, perceived monster.” ([12:44])

• Amber Ruffin on themes of otherness:

  • “Bigfoot in my mind is a black woman. Then I was like, bigfoot in my mind is all LGBTQ. Then I was like, bigfoot is an immigrant. That’s a lot to take in, girl.” ([24:24])

• On the writing process:

  • “There's nowhere on earth that requires you to be awake at midnight talking about what rhymes with fart.” (Amber Ruffin, [05:41])

Timestamps for Key Segments

| Segment | Timestamp (MM:SS) | Description | |---|---|---| | Musical intro & Mud Dirt lyrics | 01:48-02:11 | The cast sings opening lines from the show. | | Origins and timeline of Bigfoot | 03:17-03:59 | Amber Ruffin explains the show’s 12-year journey. | | Casting and types of comedy | 06:47-07:36 | Gray Henson relates Bigfoot to his Broadway roles. | | Comedy and physical gags | 08:52-09:26 | The "slaps" bit and physical comedy. | | What/Where is Mud Dirt? | 10:42-11:40 | On inventing the setting and townspeople. | | On Bigfoot’s longings | 12:35-13:08 | Gray Henson on Bigfoot’s yearnings for humanity. | | Setting the show in the 80s | 13:10-14:16 | Amber Ruffin explains the era choice and comedic effect. | | Francine’s protective love | 15:05-15:58 | Crystal Lucas Perry on playing Bigfoot’s mom. | | “Day to Day” song clip | 22:08-23:09 | Grayson introduces, and listeners hear, Bigfoot’s solo. | | Writing and musical structure | 23:30-24:21 | Amber explains the show’s all-hits, no-filler approach. | | Bigfoot as metaphor for being ‘other’| 24:24-25:39 | Amber discusses Bigfoot's evolving symbolic resonance. | | Happy endings & hope | 25:41-26:49 | The cast on the importance of joy and optimism in theatre. |

Conclusion

"Bigfoot! A New Musical" is a playful, whip-smart show offering great laughs, a surprisingly affecting story about acceptance, motherly love, and the joy found in belonging. Its creators and cast exude warmth and infectious enthusiasm, inviting audiences to celebrate both the weird and the wonderful within and around us. As Amber Ruffin puts it, “Go see it. It’s fun!” ([27:49])