Lauren Klash Schneider (3:23)

I'm just curious. You've been with the production since its earliest inception.

Steven DeRosa (3:28)

That is true. You did your homework. I'm very. I'm flattered. I. Miraculously, I. I had done a Hairspray for Jerry. I was one of the replacement. Wilbur's. Speaking of Rube Goldberg, like, kooky people. And I loved doing Hairspray. And. And I'd known Jerry since then. And I got the call that they were doing a workshop of a new musical about Betty Boop. And I was like, what the heck is this? And I. I don't know. I don't really know the cartoons even. But I went back and I started doing some research. And here's the truth. I didn't know who David Foster was. And so I. I met this workshop and Jasmine, who's our. Obviously our genius. Betty was Trisha in this workshop because she was only 18, I think, at the time. This was during the pandemic. I think she was maybe 19. And we were all wearing masks and getting tested, and I saw this handsome older gentleman who composed it, and I said, oh, God, maybe it's a vanity project for this guy. And then I thought. And then they were like, do you know that's David Foster? And I'm like, oh, wonderful. Lovely to meet you. So I was relaxed for the first few days, and I just, you know, was having fun. And. And. And I love this period, the 1920s and 30s. I get their sense of humor. I. I love cartoons. I get this sort of vibe. And so I was having a great time. And then around day three or four, I think it was when I met Kat McPhee, who's his wife. I looked up David's resume, and that's when I started to get so nervous, and I started to worry. I'm like, oh, my God. He works with freaking Celine Dion. He works with Michael Buble. My voice. I'm like, here. I was telling him, like, no, I don't think we need to go up that high on these notes and this and that. And he's like, well, you. You're the character. So I was like, he's being so kind and respectful to me. And then I realized, holy Christmas, this is David frickin Foster. I can't Even go into his resume and all the songs that he wrote that have been like, just toss in.

Lauren Klash Schneider (5:47)

That he has as a composer, producer, won only 16 Grammys in his career and I think 70 something nominations. But I cannot be quoted on that.

Steven DeRosa (5:59)

Oh, like literally everything from. From songs like you're the inspiration from. And also as a producer, did you know he did Barbara's Broadway album? He also did. He was the guy who said, maybe Whitney Houston, we should sing I will always love you in the Bodyguard. He did that. Oscar nominated. He just basically discovered Celine. He did. He's written songs. I can't even go into it. The bottom line.

Lauren Klash Schneider (6:27)

Well, here he is as a collaborator with theater lyricist Susan Birkenhead. And of course, you know, Bob Martin's roots in Broadway musical theater. And Jerry Mitchell, as extraordinary as David is in his other world. What was it like after you've figured out the work that he's done to have kind of a newcomer to the Broadway musical creative process in the room with you?

Steven DeRosa (6:56)

Great question. And that is exactly what I think makes him so great. He is not. He's not superior. And yet he could be because he has every reason to be superior. He is, I find. I hate to drop the name, but I mean, a lot of the greatest people I've ever worked with, I got to work with Steve Sondheim when I did the revival of into the Woods. There is something amazing about geniuses that they are so loving and respectful of the people they collaborate with. There's a kind of humility, I find, with the people who have real talent and they love talent to work with other artists. They feed off of the other artists and they don't act like divas. They don't have to be like My way or nothing. They don't have. I mean, I don't know what they were like when they were 25 years old or 30 years old, but they don't have that my way or the highway mentality. They don't have to prove themselves. They want to collaborate. And Jerry's enthusiasm is through the roof and Bob is inspired and Susan. I can't say enough wonderful things about Susan Birkenhead, who I'd also known for years and I was so lucky to get to do this with them and see them create. Like, I have a little song in the first act called Get Her Back. And we literally all created that together because the previous song that they had had for it wasn't sort of serving the story. And here I am in this room and they were just like well, what do you think is going on for him emotionally? And I went, you know, you know, like a, like an old, I don't know, opera, 1920s sort of vibe. And they, and they riffed off of these things and they came up with this song. And I thought, I'm so freaking lucky to be in the room with these people. But also that they're treating me with such love and respect. It's a very, it's really special. Also, I think when you're treated with love and respect, I mean, this is not, you know, great, you know, insight here, but you want to work for the person even more. You want to work harder. You're, you're willing to do twice because you're being treated with love and respect. And I think that that has been one of the extra special blessings of this show is that and something that Jerry has learned from all the incredible people he's worked with. I'm thinking Jack O'Brien and that when you. But this is very much in Jerry's DNA, having started as a dancer, that every single person in that room is valuable and needed and special. And so, and I think, I think, and I hope your listeners will come and see the show and I think you'll feel that in every element of the show, you'll feel this kind of love and enthusiasm when you see the show.

Lauren Klash Schneider (10:25)

Absolutely. While a really terrific, worthwhile story is being unfolded right before our very eyes as we are totally entertained. Your scenes for the most part are with brilliant newcomer Jasmine, Amy Rogers and the remarkable, seasoned Faith Prince. I mean, could not get much better than that. Would you talk a little bit about working with Jasmine and where she is in her career and working with Faith.

Steven DeRosa (11:01)

It's so funny because I have both ends of the spectrum, right. I have this 25 year old woman making her Broadway debut doing these phenomenal numbers, but also crafting this character who's iconic. Right. You have to be the cartoon. Right? But then you have to go into the real world and, and learn what love means. And to see this young woman shine and also to be so effortlessly generous with the entire company again, we're so fricking lucky. Because a lot of times when young people are that talented they are and given responsibility, they are, they are less than gracious, let me put it that way. Because they're anxious and overwhelmed and it can come out in unappealing ways. In Jasmine's the opposite. She is warm and funny and wonderful and weirdly never makes again. It's a strange thing, but like Betty, she's She, she has this kind of love and affection for the world, and it shot and it shows and, and so it's, she's a smart actor. She's still I, I think she has so much potential, I can't even know where her career is going to go. Like, I sometimes I say, oh, somebody give her a sitcom. Then sometimes I look and I think, she's so young. I can't even imagine what she's going to be when she's 30 and 35 and, and the kind of poise and grace and talent. So I, I, I have loved working with her. I've been so grateful for her generosity, her sense of humor, her. And then, I mean, faith. We have Faith jokes with me now. She says, I'm in my Elaine Stritch years now. I'm in my Elaine Stritch period. She's, and I mean this in the highest compliment. She's a real broad of Broadway. She has been there, done that, the ups and downs. You know that song, I'm Still Here. She's that. But unlike certain people at her level and of, of fame and she's not mean. She's never mean, ever. She's like a mom to the company. She, she cares about everybody. She, we were dead tired and because, you know, we're huffing and puffing and, and dancing and doing up a storm and, you know, she says, you know. But we had to do an extra rehearsal for one of the. When they were putting in an ensemble member in a cover. And I was like, faithful. I bet, you know, you don't want to be here this extra two, three hours. She was like, well, for this person, in a heartbeat, I'll be here. Because she loves the company. She loves the. She's practically a member of Ayatsi. She's like a legend. I won't even tell you how much the crew adores her. But I'm, I feel so blessed because she's smart. She's a smart actor. Like, like Jasmine. I have the, like, I tell you, she's a smart actor. And faith, but Faith's at the point. And also she worked with Jerry for, you know, since Jerry was, I think, Jerry Robbins, like, second assistant. She on, on Jerome Robbins Broadway. That's how she met him. She's always, you know, not been afraid to speak her mind. That's part of who she is. But she's, she's unfiltered in the best way. Like David Foster was wanted to raise her, her killer number in the first act. And she said, and he Said, I think I'm going to take it up a step or a step and have it. She goes, no. She smiles and she goes, no, no, we're not going to do that. She goes, honey, I know my voice. I know what I can do eight shows a week. She says, I have four great notes and you're going to get all four of them. And so we were. I was like, my jaw was on the floor and I'm laughing. And I think at first David was a little, you know, okay, okay, whatever you say. And then I remember when she did the number in Chicago and brought the house down. I remember during a rehearsal, during one of the previews, he came up to her and said, you know, you are absolutely right. That is the right key for you. She says, I tell you, let me do my thing. I'll knock it out. And she knocks it out of the park. She's got such a sense of humor. I feel very, very lucky to have both these women and to get to be on stage with them and be silly with them. And I get to fall in love with Faith Prince. And I think it's such a rewarding thing for, well, for me. And I also think hopefully for audiences to see an older couple that want to be sexy and funny and, and, and find love and, and a renewal to their life at the later. In the later years, they don't just.

Lauren Klash Schneider (16:52)

Want to be, they are. And they do. And you are a big part of that throughout how this whole show is put together. And I thank you so much for your time.

Steven DeRosa (17:06)

Oh, my God, Lauren, I think the world of you and I'm very grateful that you asked me to be part of this and I hope I didn't talk too much, but thank you.

Lauren Klash Schneider (17:16)

A treat for sure. And I'm Lauren Klash schneider with Stephen DeRosa originating the role of the iconic role, I'm gonna have to say, of Brampy in Boop the Musical at the Broadhurst Theatre. Thank you for listening.

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