Grace Aki (7:52)

So excited to have you on Broadway radio. Daniel, like, I have truly just adored you since I got to see you in Sweeney Todd, which obviously we will talk about. But our dear friend Nina Ward, everybody, like, just like, we waved at you from the street, famously, for that little moment when we were outside. I think it was for, like, the. The. When Tina Turner passed away, they flipped the lights, they dim the lights. But I remember standing out there in the street and everybody was kind of like holding each other. And then we looked up and waved at you in the window.

Daniel Yearwood (8:21)

So you guys were about the. The Marriott.

Grace Aki (8:23)

Yeah, yeah, yeah, exactly. Which now is Stranger Things. So it's lovely to have you. I'm so excited to talk about this show because it's such an experience. It's what so many people have been talking about in terms of, like, loving Sondheim. And obviously you are a lover of Sondheim. You would not be doing the shows that you're doing if you weren't. I'm curious, like, you know, it's nice to see you back on Broadway. But, like, how has this been for you? Like, what's the experience been, like?

Daniel Yearwood (8:50)

Surreal. Absolutely surreal. I would say that to revisit this material, you know. No, I'm not singing any Antony material. However, the music, it is so rich. I've said to multiple friends, family members who have seen the show, this show, it's a hug. It is a Big, big hug and a celebration of who Sondheim was and his work that will live forever. I think that no matter where you find yourself, there's a connectedness throughout his material in each one of his shows. I mean, he is the Shakespeare of musical theater. That there is a profoundness or profundity to his work and his understanding of the human condition and the complexities of who we are that makes every piece of his work relatable. I think now more than ever, we won't get too deep into it, but considering the world that we're living in, specifically in the United States, this moment where we get to take two and a half hours, step into four walls of a theater, and just share for that time the revelatory aspect of we are more connected than we are different. We are all amazing, beautiful, complex humans. Flawed. But there's grace. There's such a brilliance to his work. And to witness Bernadette Peters, you know, his longtime collaborator, be so grounded and deeply moving throughout the entire show. I mean, she's 77. I don't know if that's something I should put out there in terms of her age. Wikipedia does exist.

Grace Aki (10:36)

You can Google it. Yeah. I mean, not like it's. It's a total secret, but it is kind of unbelievable.

Daniel Yearwood (10:41)

It's unbelievable. And at her age, to know that she's so deeply rooted in these characters. I mean, like, personally, I can't watch Send in the Clowns in the order of the show. Sweeney happens right after. And so we do the prologue. And I remember there was one time where backstage I just. I watched all of Send in the Clouds, and I walked on stage and just tears flowing from my eyes. Not quite. I guess I could justify it. Murder, bloody murder. Sweeney's killing people. But the power of stillness, what it is to own material and to personalize it in such a way that, you know, I don't. I haven't had the pleasure of necessarily getting specific insight from her as an actress on, like, what she's using. But whatever she is, it is captivating. Leia is fantastic. Her Everything's Coming up roses. Her. Mrs. Lovett, I am backstage beaming. And it was kind of interesting. You know, we opened about a week and a half, almost two weeks ago, and we found ourselves, you know, down a cast member. And the way that the coverage works, so many swings and we have internal coverage, but so many members of the company stepping up and being able to hear certain songs from different points of view, from different perspectives and different takes, it's a testament to how brilliant Sondheim's material is because you can learn something or receive something new, depending on how you're experiencing it. And I'm incredibly proud of this entire company. You know, the company was originated in London with the West End Company and we have, I think six or seven members of that cast. And the rest of us are from the U.S. we did an LA out of town tryout which was at the Ahmanson Theater, which is a massive house, a very, very big theater. And so part of our preview process and part of our, you know, moving into opening and beyond was trying to facilitate this space and creating a space that for a more intimate house. How can we live in these characters and embody these characters? I mean, we're not necessarily trying to do like the shows as shows. It is more of a celebration, a review of sorts. If I would. Act one really gives you like chunks of different shows and then Act 2 is more like, here are some one offs hits that you'll know and love. But overall, just getting to learn from and witness brilliant, brilliant choices by some of the Broadway vets who I adore and then look up to. It's been a very valuable experience and something that I will cherish for the rest of my life.

Grace Aki (13:59)

Yeah, it's. Did you ever get to see Bernadette do a little Night music on Broadway? It was my 18th birthday present from my parents was to see her which I'm like, how did they not know gay? Like how did they. You know what I mean? Like, like it was actually out there. But they were like, oh yeah, my 18 year old daughter wants to see a little Night music starring Bernadette Peters on Broadway. For sure, she's normal, but I.

Daniel Yearwood (14:24)

She's regal, honey. She's regal.

Grace Aki (14:25)

No, she's regal. And it's, it's so special that also as like you're not 77 but. Or what have you, but like you are a seasoned vet and at the same time, when you are in a space with collaborative artists like that, there's no way that it's not fulfilling for you. Also like it, you know what I mean? Like it makes you feel like you're in a masterclass in high school or college. But at the same time you're like, but I've been here, like I've been out here, I'm doing it and I'm getting to have this moment that also feels like you get to study a little bit. Like. And I, and I mean that complimentary. I don't mean that in like a.

Daniel Yearwood (14:59)

You've got something.

Grace Aki (15:00)

You know what I'm saying?

Daniel Yearwood (15:01)

Like, I think there's a. There's a communal reverence for the material. And I think that no matter, you know, what our resumes say in terms of how we've all come to be a part of this process, there is this understanding of, like, it's rare you get material as good as this. You have the blessing to, or the privilege to perform these kinds of songs. And, you know, his story arc structure. I mean, we can talk on a plethora of levels about musical theater as an art form. I think I'm kind of on a. An artistic. I won't say soapbox, but, you know, I just came off of seeing Sinners last night, the movie, and to, you know, perceive what that piece of art was and the statements that it makes. You know, American art, musical theater is an American art form. You know, there's something different about doing a classical play. You know, storytelling, though at its core, it is a human experience. You know, whether you go back to cavemen, the Greeks, Romans, like, that is at the core we share for catharsis to be able to empathize and understand one another on a plethora of levels. But musical theater, it's an American art form. And so when we look at what it's grounded in historically, I don't know if we have time for that today to know that Sondheim shows, for the most part, you can put any person in any role and it will work. I think the way that the material is written is such that it is not targeted at a specific demographic. You can explore the humanity of each one of these characters, no matter who's in the role. And because of that, we have a gender bent song in Act 2 where Gavin Lee sings Could I leave you? And it's genius. And I adore him. I think he's one of the most incredible comedic, physical actors I've ever met. And to see this other side of him, yes, there's a nuance of comedy to it, but it was really wonderful to watch him explore and create this version of this song. And I think it lands really well. Yeah, I can't sing enough praises about the rest of the cast. They are fantastic. If you haven't, please come see old friends. We're running through June 19th and holy cow, you're in for a treat. It's fantastic and it really is a wonderful, wonderful time.

Grace Aki (17:46)

I love that. I appreciate you so much. And I think that like anybody who has ever liked even a singular Sondheim piece, I think that they will derive some level of joy because there's so many different shows that are mentioned. There's so many. And I love how you started this with the fact that, like, when I correlate, like, the title Old Friends, I didn't know what to make of it immediately, right? Because it was like Sondheim's old friends. I was like, oh, is this one a new show? Two, is it, like, getting the band back together, like the old. You know what I mean? Like, what. What is this? And then what you just said of, like, it's a hug, like, from. From some Sondheim's work, like, his arsenal. I think that that's really beautiful, and it's very exciting, and I think that that's just something that every single theater lover, frankly, wants. They want that to feel like a hug.

Daniel Yearwood (18:36)

Not to be, like, a musical theater nerd, but. But, like, Merrily is my favorite show. And we start at the end of their journey, and we work our way towards the beginning of where they. They started. And we've had this beautiful celebration of Sondheim over the last five or so years. Pre Pandemic, I think Company had just opened, and then they continued their run. When we came back, we had Company into the Woods, Sweeney Todd, Merrily We Roll Along. You know, this cascade of Sondheim kind of leading up to this Old Friends, I think it is very apropos in terms of the title, but also, like, I don't know, some people. We will have Sondheim on repeat. It's in our playlist. It's in our library. And then there are others where, you know, Sondheim is. I'm gonna dive deep when I dive deep, and if not, I'm going other places. And to come back to his material like an old friend, you know, someone who you may not have been able to connect to or sit with for a long time to revisit and be able to say, wow, look at this material. Look at who this man was and the legacy that he left and remember all of the brilliance along the way. Do I wish there was a little bit more Merrily throughout the show? Yes. But, my gosh, there is an entr'acte that gives you everything you need, and it's phenomenal. We are conducted by Anne Britt de Chateau. She is a fantastic, fantastic conductor. We are in very good hands, and she is phenomenal. Getting us together in music rehearsals and going through this process, navigating. There are so many technical aspects to theater. Not every house acoustically is the same you know, how do we on stage affect our voices with the sound team and how to make everything land the way we want to? She is a fearless, fearless leader and very grateful that we've been led by her.

Grace Aki (20:50)

No, I'm seriously so excited to see it. Everybody that has talked about it has sung its praises and honestly just been grateful. Like, that doesn't happen often in the theater where they're like, I'm just grateful for it. Like, I'm really grateful that it's here right now. I'm grateful as a lover of musical theater in Sondheim and just like wanting that hug, frankly. So if you want and you should want to see Daniel Yearwood in Sondheim's Old Friends, you only have until June 15th. Like you said, it's a limited window, baby. We are living in that time. So you better buy your tickets now at mtc. I'm so, so glad that you joined us on the show today, Daniel. It's been a pleasure. I want you to enjoy the rest of your hopefully off day Monday and please take care. But thank you so much. I cannot wait.

Daniel Yearwood (21:35)

Appreciate you, Grace. Thank you so much for having me and sending you all of the love.

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