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ToB: Saturday, March 22, 2025 | Michelle Azar on living with RBG
00:33:40
Reviews Are in for ‘Operation Mincemeat’ on Broadway, Michelle Azar Discusses ‘All Things Equal’ Since 2016, “Today on Broadway” has been the first and only daily podcast recapping the top theatre headlines every Monday through Friday.
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- [00:02]
James Marino
Welcome to Today on Broadway for Saturday, March 22, 2025. You heard me. This is a Saturday edition of Today on Broadway. Perhaps unprecedented. I'm not sure. I'd have to go back and try to figure that out, but I think pretty unprecedented as I'm going to bring you not only the reviews for Operation Mincemeat, which opened up on Thursday, but.
- [00:21]
Michael McKean
An interview with actor Michelle Azer, who.
- [00:23]
James Marino
Is starring in the show All Things Equal the Life and Trials of Ruth Bader Ginsburg. It's a show that I have talked about with the playwright before, Rupert Holmes, who you might remember. This is playing here in Orlando on Sunday, tomorrow, March 23rd. So a great conversation with her on Friday. I had hoped to get the reviews out for Operation Emancipate on yesterday, but as you can tell, I'm a little under the weather and was curled up on a couch or bed for most of Friday, so I did not get to that. So I apologize. So I'm going to combine them all into an episode of Today on Broadway. But let's start over at the John Golden Theater where Operation Mincemeat officially opened on Thursday. It is currently scheduled to run through August 10th. That is already an extension from when it had originally been on sale. If ticket sales continue apace as to where they are, perhaps that could continue to extend. That would obviously be helped with a strong showing at the Tony Awards. And the reviews were pretty good in aggregate, but maybe not at the top line. But before we get into those, I will remind you that this is a show that comes as a transfer from a much celebrated award winning run over in London. It is created and written by a comedy group called Spit Lip that includes David Cumming, Felix Hagan, Natasha Hodgson and Zoe Roberts. Many of them are also in the cast, which we'll get to here in a second. It is directed by Robert Hasty and choreographed by Jenny Arnold. The cast is just five people and that includes David Cumming, Natasha Hodgins and Zoe Roberts, along with Claire Marie hall and Jack Malone. These five people play five individual characters and then as the listings say, and others. So they are all playing multiple characters. The show tells the true story that happened in 1943 in which the body of a deceased homeless person is found and they use that corpse to very subtly but very smartly send false information to Adolf Hitler himself, tricking Hitler and the Axis powers to thinking that the Allies are going to land in one place when they were really going to another. The description for Did They like it says Singin in the Rain meets Strangers on a Train. Operation Mincemeat is the fast paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II, bursting at the seams with a kind of chaos you couldn't invent. The question is, how did a dead body, a fake love letter, and of all people, Ian Fleming come together to Wrong Foot Hitler as of recording time Review aggregator site Did They like it? Has collected 17 reviews, 13 were positive, two were mixed and two were negative. Unfortunately, the one at the top that leads all of these lists, the New York Times and their critic Jesse Green, was mixed. Green starts his review by saying, In 1943, in wartime England, a homeless person dies in the street after ingesting rat poison. Given a fake postmortem identity by British counterintelligence officers, no effort to find his family is made. He is dressed in a military uniform, sealed in a cooler, then ejected from a submarine near the coast of Spain. The papers planted on this corpse eventually make their way to Hitler, convincing him that the Allies will begin their invasion of Europe in Sardinia, when in fact they plan to do so in Sicily. As a result, Axis troops are diverted to the wrong Italian island. In short, Operation Mincemeat, as this real World War II operation was called, works. But is it funny whether Operation Mincemeat, in quotes referring to the musical, the diverting if irksome musical comedy about the plan works as well, will depend a lot on your answer to that question. A hit in London and has come to Broadway where it opened on Thursday at the Golden Theatre. Having paid close attention to differences in accent, dialect and usage between British and American audiences, he references the fact that public school in the UK is what we call private school here. But neither the authors, a collective called Spit Lip, nor the director Robert Hasty, appear to have given sufficient thought to our different senses of humor. Theirs, you will recognize, it combines Oxbridge snootiness with panto ribaldry to create a self canceling middle brow snark. You may detect in the show's DNA elements of Monty Python, Benny Hill, the Play that Goes Wrong and the Hitchcock stage spoof the 39 steps. But if those influences have made you laugh even as much as they have made me, you may still experience diminishing returns in the non stop tickling of Operation Mincemeat. The Pythons kept their satire sharp and their sketches quick. Not so here. At more than two and a half hours, the show is hardly svelte, nor with its aim so scattershot is it clear what it is satirizing As I referenced earlier, the vast majority of reviews were more positive than Jesse Green's, although his does not read like a pan at all. Sarah Holdren from Vulture was positive, saying, while some moments certainly sizzle more than others, there's more than enough sincerity and goofy charisma on stage to keep the show powered. Frank Rizzo of Variety did reference at least one of the concerns that we have had here and that many other people in the reviews talked about. He said, think of it as Monty Python on speed and then throw in some Ealing studio wit and a bit of beyond the fringe slyness. Too British? Not if you want to laugh uproariously and perhaps even unexpectedly shed a tear or two. Britney Samuel of Broadway News was also positive, saying, juvenile silliness is the blood pumping through this show. It's packed with visual gags, mocking quirks and vocal modulations. Though not the quickest way to my funny bone, it certainly works for general delight seeking Broadway audiences. Adam Feldman of Time Out New York was mixed, giving it three out of five stars. He said, if this looks to you like actors having fun, there's a good chance you'll dig what Operation Mincemeat is grinding. To me, it looks like characters pushing too hard. They don't stop nudging you with their elbows. And while moments of that can tickle, two and a half hours of it gets a little exhausting. Johnny Ulksinski of the New York Post was negative, saying, the MadCap World War II comedy from London, which opened Thursday night at the Golden Theatre, is an often tiring wallop of frenetic hyperactivity. There's ample cleverness and some witty lines, but the Red Bull tweeness gets grating. I'll wrap up with Shania Russell, who was positive writing for Entertainment Weekly. She said, don't let the modest cast of 5 Fool. Operation Mincemeat has long surpassed its humble beginnings and become a classic, big, brassy Broadway experience. Expect no short of pizazz, frills, belly laughs and yes, confetti when you step into the John Golden Theatre, not to mention several catchy tunes stuck in your head when you exit. On that note, Tim Teeman from the Daily Beast, who was positive, he does say that the early candidate for Broadway's song of the season is in this show, so we will see if other people agree once more. See it, I think by having this many positive reviews that often reflects a fairly well rounded reception to a show, and we will see what that means for awards consideration. I think this was one that I had pegged as a best musical nominee. I don't know that I ever thought that it was actually going to be a contender to win unless it just got unbelievably rave reviews. And I don't think that's where we are. But I would certainly consider this still in pole position to net a nomination. When everything is said and done beyond that, we'll see what can happen from the campaigns. All right, now let's switch from New York down here to Orlando and other cities across the country as this show continues to tour. But I first spoke with theater and pop culture legend Rupert Holmes about his play All Things Equal the Life and Trials of Ruth Bader Ginsburg back in November of 2022. You'll remember he gave me one of the best moments of my life, let alone my career, when he sang my name to the melody of Escape. If you haven't heard that before, I will put a link to that in the show notes. But I then went and saw the show during its world premiere run in Tampa later that month. And Michelle Azer is continuing to do this show across the country. It did a national tour in 2023 and it is still continuing to play at different theaters around the country. It is at the Dr. Phillips center for the Performer Performing Arts on Sunday, March 23rd at 7:30pm of course, I will have a link in the show notes if you want to check that out. I had a fantastic conversation with her talking about what it is to do a one person show about somebody that has so much cultural awareness and how you balance being true to that human being while also being true to the dramatized version of that person. What it has been like for her to continue to do this show during the last two and a half years where so much has changed, not only in the United States, but around the world, and what the response has been from people who both agree with Ruth Bader Ginsburg's politics and those who don't. All right, with all of that out of the way, here's my conversation with Michelle Azer.
- [09:12]
Michael McKean
Michelle, this is obviously quite a unique time in the United States just in general, let alone to be doing a show about Ruth Bader Ginsburg.
- [09:21]
James Marino
I saw you do the show.
- [09:23]
Michael McKean
I guess it was November of 2022 at the beginning of that national tour. A lot has changed in the world since that. How has that gone for you? How has the experience of this show changed as things in the world at large changed as well?
- [09:40]
Michelle Azer
I so appreciate the question. So I'm assuming you saw it In. In St. Petersburg.
- [09:47]
Michael McKean
Yeah. At that first one.
- [09:49]
James Marino
Yeah.
- [09:49]
Michael McKean
Right before you. I think you guys went to Sag harbor next and then came back.
- [09:55]
Michelle Azer
And. Which is so interesting because I was just saying to somebody else yesterday in an interview how in that run, I remember feeling like, what are we doing in Florida? There's so many people that are with us. And then there was people in the front row, specifically around certain parts of the show. Abortion. Or they walked out. And I was just like, give us 10 more minutes. You know, we'll talk about it. So all this to say it feels enormously. All the things. Scary important. I'm humbled by the idea that I get to be part of the conversation that feels like it's being squelched as well as. Feels like we cannot give up hope. And I want to be part of hope. I want to be part of hope. I want us to do things differently. I want people to have the discussions that Scalia and Ginsburg were able to have about, hey, look, we may feel differently about this or that, but we can stay in connection with one another in order to find a new way. So with this. Yeah, go on, go on.
- [11:12]
Michael McKean
No, I was gonna say you mentioned the relationship that Antonin Scalia and Ruth Bader Ginsburg had very polar opposites in terms of the political spectrum. But then you also talk about people walking out. I think there's a large part of the political discussion right now on both sides where compromise is not something that people have much of an appetite for. What have you learned from embodying Justice Ginsburg for as many years as you have about the need for that? And is it as useful as she thought it was? Or have times changed, in your opinion, to where maybe it is not all it's cracked up to be?
- [11:52]
Michelle Azer
Yeah. Wow, you're really right on the money. I wish we had hours and hours to go into it because I think. Gosh, let's see. I think that it's indicative of a real problem. And I do think what is hindering us is the reactiveness, the constant. I can't be in contact with you simply because your word, even if we say the same word, is translated differently by you and I. Let's talk about. We won't talk too much detail, but about the situation in Gaza and Palestine and Israel and Judaism and, you know, I'm. I'm. I'm deeply connected to my Jewish heritage and I'm very aware of my own blind spots. In fact, I just came out of doing my solo show. Another solo show. Nobody will allow me to speak with people on stage anymore. So it was, it's called From Baghdad to Brooklyn. And I, the first time I had done it since October 7th and since October 8th when the world decided that again, you know, Israel should be held to different standards. And I, I'm checking in with myself and I, I really spend a lot of time with my Muslim friends that are on the, the, the, the side of saying, okay, what if we all just got calmer? What if we all slowed down, put down our imaginary and real weapons and said, look, I need to look you in the eye and tell you my story, to look you in the eye and hear yours. Because we all know the history well, right? We know what the Constitution is. We know the 14th amendment, we know these things. But are they really being utilized? Are they really being held up? So while I do think one of Ruth's quotes when she said, you know, fight for the things you care about, but do so in a way that make others follow you, I wish I could raise my hand and say, ruth, what do you think? Right now we are seeing so many people that are fighting for things they care about, but it's doing so in a way that's so painfully violent, both physically, emotionally, mentally. I don't know what she would say. Would she say, yes, but please wait, here's an extra thing that I want to say about it. I think she would, I think she would say, so do it, but not in these big protests. I would think she would say, do it one on one. Do it one person at a time. So I think the message of the play still holds up.
- [14:33]
Michael McKean
Well, we heard you do a little bit of your Ruth voice there, so that's wonderful. So for people who don't know what all things equal is, it's not a huge retrospective of her entire life. Although there are flashbacks in there, it really is focused on who she was at the end of her career and what her career and her personal life informed her with. So it's like a moment in time, kind of, I guess, explain how, Explain.
- [15:01]
Michelle Azer
How I agree with you. Actually, I hate to cut you off. I mean, I think, I think let's play with this, let's play with this idea. Because invariably people see me, you know, I, I hope you know I'm 50 something years old. I don't. I'm neither 30, I'm not 80. So I'm right there in the middle. So they look at me and they say, I don't understand. Do you play her old? You play her young, and you've seen the play, we bookend the play. And I think it's come a long way actually, since that first month you saw it. But we bookend the play with her. With. I like saying B with her in her 80s. And then the middle, we have license to play a little bit. So while I agree with you, it's not. No. I don't know. I think that what we're trying to do is in real time, spending speak. These are the things that brought me to being a Supreme Court justice for sure. My mom passing when I was in high school, my sister passing when she was six years old, how I navigated these things, how I found myself at Cornell, how I met Marty. And yes, all that is done in sort of a retrospective as me in my 80s. And again, sorry, I'm such a method actor at certain times. So I saved me. But then we do in real time, we drop all that, right. I get out of the robe, I'm in the blue suit, I'm bouncing about the stage. I don't have any physical ailments. So I hope in that time we're actually like, whoa. We're experiencing a part of Ruth Bader Ginsburg that we, the public has not. Is not in the first in the forefront. And in those moments, I'm talking about lesser known cases, Reid vs. Reed or Sally Struck, the case that was in on the Basis of Sex, that wonderful fictionalized movie on her life, which was written by her nephew, which I didn't quite realize is sort of. Yes. Is it a. It's a magnifying glass of why she was so special. Taking the plight of the male population to say, hey, you guys aren't getting your fair share either. Because you're a male doesn't mean that you should be exempt from a tax deduction because you took care of your mom instead of going to work.
- [17:16]
James Marino
Right.
- [17:16]
Michelle Azer
That's what that movie's about. And we do a beautiful time of it, I think, in real time as she's grappling with this in the courts in Moritz versus the Internal Revenue Service. So all I'm trying to say is for our audiences, I'd like to let you know that, that yes, there is flashback, but it's, it's happening in real time. It's very active. It's. It's not, you know, and then this happened to me when I was 10 and then this happened to me when I was 40. Right. So it feels very. And it's funny. My daughters have both seen it now a couple of times. And I said to my youngest, I said, you know, to me, it doesn't feel like I'm on the stage alone. And she goes, I know exactly what you mean. It feels a little bit like I'm with her in these different ages, but it feels like I'm with Clinton and Sandra Day O'Connor and Marty. And it feels somehow. And. And that's not just, you know, because of me, but it's also our director. Lately, the part spends so much beautiful time and work with the text itself and with all our designers. And then, of course, Rupert Holmes, who comes to things from a musical ear. So, you know, he wrote, if you like Beanie Coladas and many beautiful musicals that, yeah, that won many a Tony Awards. So he's hearing it from, like, what other places can the storytelling come from? So, again, just to speak to your. I think we're covering a lot of age and a lot of ground.
- [18:45]
Michael McKean
Yes.
- [18:46]
Michelle Azer
Yeah.
- [18:46]
Michael McKean
So, yeah, No, I think that's very, very well said and very well explained. I think I was trying to point out, like, oh, this is not a biopic where you're going to start at 16 and chronicle every step all the way. It's her looking back on her life. So I apologize for not making that clear. But, yeah, it's interesting, though, you did say that, even from when I saw it in late 2022, now, what, two and a half years later, that there's been a lot of. You mentioned the director, Layli, and you mentioned Rupert, who is getting ready to open another Broadway show here very soon. What has that process been like? Not only to try to refine the piece that's already there, but then I'm assuming, even if it's not textual changes, emotional and environmental changes happening around the world have to have played something, some part in that as well.
- [19:35]
Michelle Azer
Precisely. Great point. Again, there were a couple of textual changes after Rupert came and spent some time with us in Sag harbor and with the audiences, and he really was beautiful. He took some of their questions to heart. And we augmented. He augmented a bit of the reproductive rights section. Why? And how. Ruth came to sort of discern she wanted to be about gender equality versus what it really wound up being about was invasion of privacy. So that he went into different detail, which I was really pleased about. And then the other thing that came to the forefront is everybody wants to know, why didn't she just step down? Why did she stay? And so we. Excuse me, excuse me, New York, Manhattan. We go into some great detail about that as well, which is, I think, terrific. And such A testament to Rupert for knowing that it's not upon him to imagine what Ruth would say, but to go from all the, the sources that he did in order to find an answer to some of these questions. And, and Ruth has spoken about it and I have gratefully been talking to her rabbi, her daughter, you know, hearing a little bit about her thought process. And then the other thing I would say is specifically when, let's say Trump has taken office. And by the way, we haven't done it since the election this year, so I'm really nervous and really excited. But I'll tell you, in September, I guess whenever, November, I can't remember when we were in like San Antonio, Texas, and people, I would say the word Joe Biden, everybody makes it in the play and they were like, oh. Or there was, there was this energy. So I'm really interested to see what comes out this weekend in Orlando. And then also for me, being a very actively Jewish minded woman, when I say things now like, you know, I had three strikes against, four strikes against me. I was a woman, I was Jewish, and maybe it is three. And I'm the mother, and I'm a mother, can't remember now. I'm terrible at numbers. I'll go to rehearsal in an hour and I'll let you know tomorrow. Yeah, so for me, I've noticed the inclination to speak up or speak down certain things in the text, which I have to remind myself isn't something that Ruth would do. Actually, I don't think so. I think she was so steadfast and clear about not getting too emotional, not getting too swayed by the day. Although toward her end of the live end of her life, she did allow her emotions to come out more. But I think that that's such a good reminder for me to say, speak the speech, I pray you, you know, to just stay on task and try to communicate all things are equal.
- [22:35]
Michael McKean
And that's so interesting. As somebody who, like in a solo show, you talk about your solo show much different than doing a solo show when you were playing a character. Where is the line between trying to as accurately and truthfully represent that human being versus being able to communicate what this semi fictionalized, dramatized version of that human being would be in the context.
- [23:03]
James Marino
Of a dramatic piece.
- [23:05]
Michelle Azer
Correct. Wow. It was, it was very rough in the learning of it, I'll tell you. Until I gave myself that permission to say, okay, for some of it, I'm sticking to the vocal that we know, which is, by the way, a very slow paced, it would be an eight hour play rather than 90 minutes. Right. So we. We choose just a few times that we really drop into that. But I think in the learning of it too, I had to give myself, okay, what are these moments that we can fictionalize? Where does she move really, really fast? You know, we say that. That she says, Einstein said life is like riding a bicycle. The only way to keep your balance is to kept moving forward. So that acceleration in her. And I know that that's there. So giving myself that license, because that is more of who I am, I move quickly. I'm very physical and. And so giving myself a couple of moments to say, okay, this can be Michelle embodying this Ruth Bader Ginsburg in a time that we, the American public or the public don't know about. But I'm very, very particular, I hope, about her, her body language and her vocals when she's toward the end of her life. I think that's enormously important. So I don't give myself as much freedom, let's say, because I want it to be recognizable and I want it to be authentic. It's not an SNL skit. We're not trying to do, you know, the Oompa humorous version of her. And certainly there's a ton of humor in the play, but I think that that's the answer to your question. I think during the times that we didn't see her at home, we don't see her in the bedroom with Marty or yelling at her daughter in the kitchen, you know, we can imagine because she's human. And so that's that moment of like, okay, well, I'm very emotional person. And at the end, we bring up Anne Frank because Bader Ginsburg was really clear when she was in eighth grade that there was this human four years older than her that was in a concentration camp. And. And that backdrop, you know, that took me a lot of months to say without just bursting into baby puddle of tears. And I think that is the other piece that I've really learned from her, how to fortify myself amongst tears and sadness that I may have given rise and given authority over as opposed to speaking. The speech staying clear.
- [25:32]
Michael McKean
Yeah. Well, on that idea of it impacting you so personally, I. I'm wondering two side by side, dual parallel questions here. What has playing this part taught you as a person? And what is this part taught you as an actor?
- [25:49]
Michelle Azer
I have a ton. A Long Way to Go is what has taught me as a person. Again, during our Seattle time, I saw this bookshop that was just Filled, littered with Palestinian love. And I went into the bookshop thinking I was enough equanimity rbg and I asked some questions, and I found myself getting really upset because I wanted to have a conversation, and they were not as much wanting to have a conversation, and I had to leave. And so I thought I had drunk my own Kool Aid enough. Let's say that I was more steady. But, you know, I think that she had already such training of what it means to live with such difficulty in the face of her mother, who was going through so much. And she really wanted to be this anchoring for her. So I have learned that I have a long way to go and that I need to keep learning. And as an actor, it has taught me a lot about feeling on par and feeling like we all have a voice here. And it doesn't mean that I'm, you know, a male Tom Cruise making how many figures he makes a movie or. Or on the flip side, you know, an actor that's just starting out. I practice a lot of yoga. I love the idea of beginner's mind. And I think one of the most incredible things that made Rut Ruth was she was always ready to pivot. Remember when she. Even the documentary, they're like, don't you feel whatever the word they use that you're being compared to, you know, the notorious rbg? She said, no, I think it's wonderful. We're both from Brooklyn, you know, like, that was her. She's like, I'm 90, 87 years old, and everybody wants to take a picture with me. So I think that it's humbled me as well as given me this idea that, like, yeah, man, I've been doing this a long time, and I've been told that I'm good, but I was also told that I would never amount to anything, and here I am. So I feel like it's given me this lens of, you know, like, let's all stay in this. Let's stay in the fight. And I love seeing younger girls, especially, but I love seeing any young people at the show because I always ask them to stay afterwards. You know, the stage manager goes out and finds them, and we take pictures or we talk. And I never would have done that years ago. I would have been too shy, gone back to my dressing room, get out of my clothes and go home. Now I just feel this need and power to say, hey, let's have a conversation.
- [28:25]
Michael McKean
Well, I'll wrap up here with one or two more quick questions. You hear so much about all theater being political in some form or another. This show obviously talks about politics, but you've also mentioned how, like, even when people leave, when they hear a topic broached, that they might not agree with, that if they just wait a little bit longer, generally you will come back to it. So do you think that this piece is political, or is it just about somebody who worked in politics? And is there a difference?
- [29:00]
Michelle Azer
Great. Wow, man. I want to have lunch with you. These questions are good. Here's my answer. Nina Totenberg, remember, you know, she. Yeah. So I read that dinner's for Ruth, that dinners with Ruth, and when we did the play in Washington, D.C. she and I got to talk. And, you know, what Nina said about her is like, she was such a girl's girl in a lot of ways. They went shopping together. I think that Ruth's lens was so broad and so vast. She says that she thinks she did better in law school because she had a daughter to look after. She had to keep her brain on many things. So I think the answer is she was clear that she was on this planet for a greater purpose. Not that being a family leader is not a great purpose, because for sure. But I think she knew she had something to say and she had the patience in which to say it. So that's my roundabout answer to saying, I don't think, you know, I don't think that this play is about politics or it's about only one lens. I think it's about standing up for something you don't see stood up for that you care about. And there's so many problems. Right. I live in la. We're just coming out if barely have these fires. And how can I go off and, you know, not be feeding the people or. Or housing the people or giving the clothes to the people that I was doing to. Because I'm doing a play. Well, thank God I'm doing a play. I felt this about the pandemic or about the war, about, you know, the last election. Thank God I'm doing a play that has something to say. But I don't think that that was Ruth's thing. I think she was like, let's just enjoy each other, let's sing, let's listen to opera, and let's try to do nice things, good things for people other than yourself.
- [31:00]
Michael McKean
Yeah, absolutely. Well, you said that Ruth kind of considered herself on this planet with a. A greater purpose.
- [31:09]
Michelle Azer
Yeah.
- [31:10]
Michael McKean
Maybe you're not going to be able to achieve that in 90 minutes, but when people come and see the show, what Are you hoping they learn about.
- [31:20]
James Marino
Her or learn about themselves from having seen it?
- [31:23]
Michelle Azer
One woman wrote me after. After seeing the play, I decided to go back to grad school. And, you know, a couple of the girls that I got to spend some time with said, you know, oh, we love. We love Ruth, and we want to be on the math team. And, you know, like their mom. I gave everybody my damn email, and they write me, and they're like, we got on the math team. So the small things I think that Rupert did a great job of the consistent seat of the play is I'm speaking to one person, theoretically. Right. I'm speaking to my granddaughter's friend who's in high school, so. Genius. Not even just the family, which would make it a little bit too. What? You know, like, too backhand. We wouldn't have as much. But it's to this one person who's just figuring out what to do with their lives and how to make their voice not even just be heard, but how to hear their own voice. So I think, yes, there's a beautiful Jewish saying. You know, it's not upon us to fix the world, but it is upon all of us to just make one step forward, to try to. To help change one thing. And. And I think that's what it is. It's about noticing what you feel, noticing where that feeling takes you, and then taking one step forward in that direction.
- [32:46]
Michael McKean
I love that. Well, real quick, I'll wrap it up on this. Do you like pina coladas? Because I feel like that's. That's the most important question.
- [32:55]
Michelle Azer
You know what? You're right. You're right. And last night, I did get caught in the rain and wished I had one in my right hand.
- [33:04]
Michael McKean
Yes, absolutely. Well, Michelle, I know you've got rehearsal coming up here in a little bit. Knock the rust off and have a wonderful trip down here to Orlando and wherever else you're doing next. I think you're going to South Carolina.
- [33:18]
Michelle Azer
Yes.
- [33:19]
Michael McKean
To do it. So have a wonderful continuation with this incredible journey.
- [33:24]
Michelle Azer
So much I hope to see you, and I hope to meet all your listeners, and I'll see you tomorrow. Sunday, Foreign.
- [33:41]
Chris Gethard
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