A (3:05)

Well, so director Lier Debonacet.

B (3:11)

Lir Debessinet. Yes.

A (3:12)

Thank you very much. Directed it in the production at Encores, where you also played Harry Houdini.

B (3:19)

Yes.

A (3:20)

How did that audition come about?

B (3:22)

How did they. I. Quite honestly, I saw a breakdown for it on Actors, the Actors Equity website. They said they were looking for a Houdini and an Evelyn Nesbitt. And I texted my agent and I was like, I want to go in for this. And they were like, great. And then I got an audition, and then it was one of the quickest auditions I've ever had in my life. And then I found out that I got the part. And it was just really lovely that one of my managers, when I got the part, just told me. He's like, I'm not gonna forget that you're the one who. You know, they would have maybe submitted me anyway, and the casting team knew me, but I think it was. I was pretty proud of myself that, you know, the Broadway debut came from. I guess me sending an email as well.

A (4:08)

Right. No, I don't blame you. And managing your career as opposed to it being managed for you.

B (4:14)

Yeah, well, this business is just so challenging, you know, and you gotta really, you know, you gotta be in the driver's seat. I mean, nobody's driving this car for you. So, you know, I'm. I'm always sort of. I mean, people tell me all the time, you're like, you're such a hustler. And I'm like, I wish I could stop. Like, I wish I could sit in the passenger seat. And maybe there'll be a day, like, knock on wood, when my career is at a point that I can sort of. You know, the thing will sort of move on its own without me being the one to initiate so much. But I think, especially with a Broadway debut, it's something I've dreamed of my whole life. I was like, you know, anytime I see a show, I'm like, how do I audition for that? How do I audition for that? So I was pretty happy when it came around.

A (4:56)

Now, you mentioned having trained at UCLA and you also got your MFA at Juilliard. What made you decide you wanted an MFA in acting and that you wanted it to be from Juilliard.

B (5:06)

Well, such a good question. I think what's funny is, you know, when I graduated from ucla, I was working and doing shows that, you know, compared to my class, like, people thought I was. You know, I was working. I had an agent. I had a manager. It felt like my career was moving. But internally, there was something that just felt really. I felt disappointed or it sort of felt unfulfilled. And I was like, there's something. You know, my whole life I've just been trying. I just try everything. I'm such a yes man in that way. And I got to a point where I was like, what's the one thing I haven't tried? And I'm not kidding. I was like, okay, well, I guess grad school is the one thing I haven't tried yet. So I auditioned for Juilliard and didn't tell anybody. Treated it just like I did some of the other auditions I was doing that week. And then I got in, and it was sort of the craziest, you know, decision that I had to make. Because it was so not planned for. You know what I mean? I used the same monologues that I did when I was 17 years old. Like, I didn't. You know, I didn't. I wasn't ever like, I'm going to also get an mfa. But retrospectively, it was the best decision I ever made and sort of, you know, put me on this path that I'm just extremely grateful for. Now.

A (6:22)

I don't blame you, and I'm not sure if I got this chronology correct, but shortly after finishing your master's, did you dare think about the production of Ragtime at Encores moving to a commercial run?

B (6:36)

Did I think about it? I mean. Well, that's the thing about City center. Because Ragtime was my second show that I did there. My first one was Light in the Piazza. And, you know, with all of these City center shows, there's, you know, there's this little bit of, like, is this one gonna move? Is this one gonna move? Like, there's always this little murmur and buzz. And there was so much buzz about Light in the Piazza, which unfortunately didn't move. And maybe one day will, who knows? But it just sort of, you know, I felt extremely. That was very fraught because it was. Every month it was like, is it happening? No, it's not. Maybe it's happening. No, it's not. You know. And so when Ragtime came around, I was like, you know what I'm. What will be, will be. But I'm not gonna sort of bank on anything. And then when it did, it was just such a pleasant surprise. And felt, you know, like the perfect show to make a Broadway debut in. I mean, it doesn't get more special, right?

A (7:34)

Well, actually, Variety says, and I happen to agree. That this production of Ragtime is a thrilling, timely, glorious panorama of changing times. It reverberates with passion. So for you, making your Broadway debut. What's it like walking into work every day and being on that stage, knowing the specialness of this show?

B (7:57)

Yeah, I mean, there's so many things about the show that are special. I mean, you know, I could talk for so long about the cast and company. I could talk about, you know, how well written this show is. I can also talk about how I think it's brilliant artistic direction to put this show up right now. And then I think I could talk about just how this piece right now is such a, you know, reflection of what everyone's sort of grappling with. And what it means to be an American today. So there's so many different reasons as to why I think this sort of, you know, all of these things, you throw it into a pot and you have, like, you know, very gratefully something that people really love. And a piece that is so moving to people. So, yeah, I think that. I think that really, what I'll just say is, I think doing Ragtime, you know, I remember our first day of rehearsal at City Center. Lynn Ahrens and Stephen Flaherty were like. We always talked about. You know, we always say, like, maybe it's time for another Ragtime. Maybe it's time for Rag Time to come back. And then they looked at us and they were like, this is the time Ragtime needs to come back. And it was just such a testament to, you know, right now. This is exactly, I think, what American audiences and New Yorkers in New York really feel like they need. And it's hitting on this. It's hitting on the American dream in a way that we're all sort of grappling with what that means. And therefore, I think it really is. It strikes a chord with people.

A (9:31)

This is the last question. And it relates to you personally. Thing that you're talking about. From what I've read, you're a loud and proud Iranian, English, Irish, Welsh, Italian, American. How does that inform your work?

B (9:49)

Yeah, how it informs my work. Is that something that my mom always tells me is that, you know, all of those things that you listed. There's a hyphen in between all of those. Right. And my mom tells me all the time, you know, because she comes from the same background, is she's like, we in this family, we embrace the hyphen. And I think as time goes on, more and more Americans and more and more people will be hyphenated. And I think then the labels that people stick to so strictly will eventually need to fade and nuance will become all the rage in a way that I think there's no other way to move forward without sort of, you know, looking identity nuancedly. And so I find that my superpower, instead of really sort of having to pigeonhole myself into, you know, being Iranian or being Welsh or Italian, all of these different parts of who I am and just owning the vastness of that, and if people are confused, that is actually a superpower.

A (10:58)

Well, in closing, I would like to just quote your mother and reiterate, embrace the hyphen.

B (11:04)

Oh, thank you. She will love that. My God.

A (11:07)

I'm Lauren Klaus Schneider with Class Notes for Broadway Radio with Rod Cyrus playing Harry Houdini in Ragtime at the Vivian Beaumont Theatre at Lincoln Center. Thank you.