Andrew Barth Feldman (We Had A World, Dear Evan Hansen, Snow White) - INTERVIEW

Summary

Podcast Summary: MickeyJoTheatre – Interview with Andrew Barth Feldman

Episode Title: Andrew Barth Feldman (We Had A World, Dear Evan Hansen, Snow White) - INTERVIEW
Release Date: April 15, 2025

In this engaging and insightful episode, Mickey-Jo from MickeyJoTheatre sits down with rising Broadway star Andrew Barth Feldman. The discussion delves into Feldman's illustrious career, his current role in the critically acclaimed play We Had a World, memorable experiences from prestigious awards, his ventures into social media, and his perspectives on balancing stage and screen work.

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I. Career Beginnings and Breakthrough with Dear Evan Hansen

Andrew Barth Feldman traces his theatrical journey back to winning the 2018 Jimmy Awards, which catapulted him into the spotlight. Following this success, he made his Broadway debut in the highly acclaimed musical Dear Evan Hansen. Feldman reflects on how this role not only solidified his presence on Broadway but also resonated deeply with his personal experiences.

Andrew Barth Feldman [22:12]: “Dear Evan Hansen was something that truly connected with me. I saw it for the first time when I was 14, and it said something about myself that I couldn't yet articulate.”

II. We Had a World: Exploring an Autobiographical Masterpiece

Currently starring in We Had a World off-Broadway at the Manhattan Theatre Club, Feldman discusses the play's exploration of familial relationships and grief. He highlights the collaborative environment fostered by playwright Joshua Harmon and the emotional depth required to portray his character.

Andrew Barth Feldman [02:16]: “This role is just extraordinary on the page. It's meant to be so alive every day—the interaction with the audience, the connection with the other two actors.”

Feldman shares his personal connection to the play, citing his own experiences with loss, which parallel the themes of the production.

III. The Jimmy Awards: A Pivotal Moment in Feldman's Career

Reflecting on his time at the Jimmy Awards, Feldman describes the whirlwind of emotions and experiences that came with winning. From interacting with industry giants to the surreal moment of holding the award, he recounts the profound impact it had on his career trajectory.

Andrew Barth Feldman [06:36]: “It was very dizzying in the moment. The moment I had that thing in my hands was the moment my life changed.”

He fondly remembers the simplicity of enjoying a plate of mac and cheese at the after-party, a stark contrast to the overwhelming attention he received.

IV. Memorable Social Media Moments: The "For Evan" Cover

Feldman discusses one of his favorite social media moments—a collaborative cover of "For Evan" with fellow Dear Evan Hansen actors, including Sam Tutty. Despite the logistical challenges of filming, the project resulted in a heartfelt and visually captivating video that resonates with fans.

Andrew Barth Feldman [10:29]: “I love that video. I check in with it every like year and a half. I'll watch it again and again.”

He humorously describes the challenges of lip-syncing while performing live shows, adding a layer of authenticity and charm to the project.

V. Ratatousical: Creativity in Isolation

During the pandemic, Feldman participated in Ratatousical, a project that he describes as the closest thing to a Broadway musical created under lockdown conditions. Filming the entire production in a single room over 14 hours, Feldman emphasizes the earnestness and creativity that emerged from this unique collaboration.

Andrew Barth Feldman [15:00]: “It's just this gorgeous moment in time that if you were there, you were there.”

The heartfelt nature of the project has led to lasting memories and tangible tokens from fans, underscoring the impact of creative endeavors even in challenging times.

VI. Balancing Theater and Screen Work

Feldman navigates the complexities of balancing stage performances with major screen roles. He acknowledges the distinct differences between acting for theater and film, emphasizing the immediacy and live connection with the audience that theater offers.

Andrew Barth Feldman [18:35]: “The gap between film and theater is massive. In theater, we are coming to see an audience just as much as an audience is coming to see us.”

Feldman cherishes the unique energy of live performances, which he feels cannot be replicated in film, highlighting the irreplaceable value of theater in his career.

VII. Future Projects and Collaborative Aspirations

Looking ahead, Feldman expresses his enthusiasm for future collaborations, notably with Cooper Hoffman, whom he praises as possibly his favorite actor to work with. He humorously entertains the idea of collaborating with Jennifer Lawrence on stage, showcasing his openness to diverse and dynamic partnerships.

Andrew Barth Feldman [16:59]: “He is brilliant. We just filmed another movie together, so he's already doing it. I would love to do something with him.”

Feldman's ambition extends to potential film projects, where he envisions working alongside icons like Meryl Streep, further demonstrating his dedication to expanding his artistic repertoire.

VIII. Working with Joanna Gleeson and the We Had a World Cast

A significant highlight of Feldman's current role is his collaboration with Joanna Gleeson, a revered figure in musical theater. He lauds her leadership and the joyous environment she fosters within the cast, which enhances the overall performance quality.

Andrew Barth Feldman [22:46]: “She is magnificent and she's really the leader of our company. She does it effortlessly and brilliantly and with so much love.”

Feldman emphasizes the balance of joy and darkness portrayed in the play, attributing much of the production’s success to the harmonious dynamics among the cast members.

IX. The Living Machine of Theater

Feldman articulates his profound appreciation for the living, breathing nature of theater. Unlike the mechanical consistency of film and television, he revels in the variability and spontaneity that each live performance offers.

Andrew Barth Feldman [23:49]: “Theater is meant to be alive every day. It demands to be alive in the different ways that we ask and answer the major questions of the play.”

This perspective underscores his commitment to infusing each performance with fresh energy and authenticity, ensuring that every show remains unique and vibrant.

X. Conclusion

In closing, Feldman expresses his gratitude towards MickeyJoTheatre for providing a platform that revitalizes theater journalism, making it youthful and accessible. The interview concludes with mutual respect and well-wishes, highlighting the supportive community within the theater industry.

Andrew Barth Feldman [26:08]: “This was wonderful. Seriously, what you're doing is amazing. Thank you for keeping it alive here and abroad.”

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Notable Quotes:

• Mickey Jo [00:00]: “Your voice combined with... like a Disney character who has been brought to life for a magical day... is a big part of what makes you so exciting and interesting as a performer.”

• Andrew Barth Feldman [14:41]: “I have nothing to say except thank you so much.”

• Andrew Barth Feldman [25:52]: “I've never gotten to do that and I think very few people really have, especially in this century. So I just feel incredibly lucky.”

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Final Thoughts

This episode offers a comprehensive look into Andrew Barth Feldman's artistic journey, his dedication to the craft of theater, and his thoughtful reflections on the evolving landscape of performing arts. Through candid conversation and heartfelt anecdotes, listeners gain a deeper appreciation for Feldman's contributions to both stage and screen, as well as his visions for future endeavors.

Transcript

[Mickey Jo]

Your voice combined with. And this is meant as an extraordinary compliment. Kind of the aesthetic of like a Disney character who has been brought to life for a magical day, like, I feel like, is a big part of what makes you so exciting and interesting as a performer.

[Andrew Barth Feldman]

I really, really appreciate that, Mickey. Thank you. That is a very, very nice compliment, and I have nothing to say except thank you so much.

[Mickey Jo]

Oh, my God. Hey, My name is Mickey Jo, and I'm a theatre critic, journalist, and content creator here on social media. During my most recent trip to New York, I had the immense privilege of getting to sit down with rising star Andrew Barth Feldman, who made his Broadway debut in Dear Evan Hansen shortly after winning the 2018 Jimmy Awards. In the years since, he's forged an extremely exciting career on stage and screen, all of which has led to his most recent role. Andrew is currently appearing off Broadway in We Had a World, the latest critically acclaimed play by Joshua Harmon. Produced by the Manhattan Theatre Club at New York City center, the autobiographical play explores the turbulent relationship between the playwright's mother and grandmother alongside his relationship to each of them through the exposing filter of grief. I sat down with Andrew last week to chat about this emotionally intense piece of theatre, the roles which brought him here, and even a few of his most iconic social media moments.

Take a look. Oh, my God. Hey. Andrew Barth Feldman.

[Andrew Barth Feldman]

Hello, Mickey. Thank you so much for coming to the show and for coming here to MTC to chat. I'm very glad to be talking. Talking to you.

[Mickey Jo]

Very happy to be talking to you. I've actually seen you at two theaters this week because we saw you here last week. But also we were at the same performance of maybe Happy Ending. Were we at the Belasco?

[Andrew Barth Feldman]

Yeah.

[Mickey Jo]

Yeah.

[Andrew Barth Feldman]

How many times was that your first time seeing it?

[Mickey Jo]

It was my third time seeing it.

[Andrew Barth Feldman]

Okay. It was my 11th. It's my favorite thing. Yeah. It's. What an unbelievable show that is.

[Mickey Jo]

Yeah.

[Andrew Barth Feldman]

We could just talk about that. We should talk about We Had a World.

[Mickey Jo]

We should. Yeah, yeah.

[Andrew Barth Feldman]

But maybe Happy Ending is pretty perfect.

[Mickey Jo]

But then after that, we came here to New York City center to Manhattan Theatre Club's production of We Had a World that you are starring in off Broadway. Your first New York play.

[Andrew Barth Feldman]

My first New York play. It's my second play I've ever done in my life. The only other one was I was already in Lost in Yonkers when I was like 13 at the Rockaway Theater Company. That's it. So it's a thrill.

[Mickey Jo]

How did you come to this particular show and to this role.

[Andrew Barth Feldman]

I did a reading. I did a reading, I think, less than a year ago with Joanna and Josh and Trip and loved it. It was just an afternoon. And I think that was for sort of everybody to audition, you know what I mean? Like, for them to audition me for the role. Also for me to see if this was a nice role for me and if I loved the play and both worked out. I loved the play. It. It's really rare that my agent is always coming to readings that I do. I've been with my agent since I was 15, Jamie Pillott at WME. She's incredible. And she came to the reading and it's very rare that we leave one of those. And she's like, this one you should do. And I was like, oh, really great. I wanna do a play. I wanna do a play with Joanna. I wanna work with Trip and Josh. And this role is just extraordinary on the page. It's meant to be so alive every day. The interaction with the audience, the connection with the other two actors. So there were really very few questions around saying, yes.

[Mickey Jo]

Yeah. Yeah. It was really exciting when it was announced because I've become such a huge Joshua Harmon fan through Bad Jews and.

Admissions and prep for the French Republic.

And so many others. And then to see yourself attached to it, I was like, that's a really fun and unexpected combination of people. And you're essentially, to some degree, playing him in what is a very revealing and honest and kind of autobiographical work. There must be an intimidation factor associated with that.

[Andrew Barth Feldman]

He set the tone. And so. No, there wasn't. He has been so warm from the beginning. He does leave me really mean notes. There's a note on my dressing room mirror that says, you do know how worthless you are, don't you? Which is him sort of to the character, like, it's sort of like this. It's his own self. Nature to self efface imbuing me with that. And there's notes in my notebook on stage that are notes from him to me. There's thoughts on every supporting actress winner of the oscars in the 1990s and his thoughts on them. That's so much of what he gave me and made so easy and accessible to sort of. He's like, I'm sort of making fun of myself in writing this play, so welcome into that process. So, no, it was very rarely intimidating. If anything, it was buoyed by the fact that he was in the room and he was there. If he wasn't, and he was just some shadowy figure, I'D be like, shoot, Josh is coming today. Maybe I've really got to show up. But no, he was such a massive part of the process.

[Mickey Jo]

And where in the piece do you find kinship to it? What in this character and in this journey speaks to you personally?

[Andrew Barth Feldman]

Yeah, I mean, the big, big, big question of the piece, or at least the question in the writing of it, is, if you can conjure the ghost of somebody that you've lost, what is the best use of 100 minutes of that time? Yeah, and that's a question that we all have. It's one I certainly have. I mean, my family is sort of marked with loss throughout my whole life. So to every day ask that question and ask the sort of smaller, symptomatic questions that come from that. Only a good play can really do that. So that's the easiest connection point. My grandmother passed when I was 9. My mom passed when I was 16. So I don't have the kind of relationship to either of them that Josh got to have as an adult. So part of doing the play every day is fulfilling the idea of what that could have been like and imagining it. And then another part of it is just because they're not my circumstances, I put myself fully in Josh's circumstances and the immediacy of the performance.

[Mickey Jo]

We'll talk more about We Had a World and this brilliant piece and your performance in it. I want to talk a little bit about the performances and the shows and the moments that brought you here, which I guess from a public perspective, kind of commenced with the Jimmy Awards. And what of that whirlwind stands out as sort of the fondest memory from what I'm sure is now a very dizzying thing to look back on.

[Andrew Barth Feldman]

Dizzying's the word. It was very dizzying in the moment. It was like that, the way my life changed. I mean, the moment I had that thing in my hands was the moment my life changed. Because then we went to Planet Hollywood for the after party, and I was talking to Tara Rubin and Bernie Telsey and all of these people that I had felt were giant shadows cast on my fandom. My love of this thing. I remember finally I got away from everybody. Like, I was able to walk around without anybody stopping me and get to the buffet table and make myself a plate of Mac and cheese by myself. Nobody was bothering me, and I was. But I just. I had this look on my face, this, like, deep shock within my soul that I couldn't hide. And I remember one of the fathers of one of, I assume other Nominees walking by me as I was, had this plate of Mac and cheese, just sort of standing there saying, stop acting so surprised, and walked by, and that was the moment. I was like, okay, I have to go back into this party and just like, take this. Take this moment as it is. That was so. That's a very fond memory. But the whole week was incredible. I mean, I made friends that I keep to this day, met some of the most talented people I'll ever meet in my life. And it's Broadway boot camp. It really is. It's, I think, eight. Something like that. Now I forget eight really intense days. I went into it with a perspective of I'm never gonna win. That's something very much given to me by my family. It's like, you're not gonna win, but how amazing is this thing? So I try to remind. I get to talk to the nominees every now and then. I try to every year. I ask them to let me. Every year. And the thing I remind them is that the stakes of their life will never be lower than this moment. You are so young. You are being taken care of by this moment, and you're about to make your Broadway debut. So you're about to stand on this giant stage in front of people who love you and are rooting you on, and maybe you'll win, but, like, no, you won't. You won't. If I'm speaking to the group as a whole, I can say with certainty you're not gonna win.

[Mickey Jo]

Yeah.

[Andrew Barth Feldman]

So enjoy this. Enjoy this moment. It's remarkable. It really was, for me, pure joy.

[Mickey Jo]

And there's so many brilliant talents, some of whom won and some of whom were just involved in it. Jasmine Amy Rogers in book Sensational.

[Andrew Barth Feldman]

I'm hearing the most amazing things about her performance. We've crossed paths a few times. She's incredible. Sam Premack, who is one of my best friends in the world. He's my understudy in We Had a World. He's remarkable. He was my understudy in Jared Hansen. That's how we met. He was a finalist the year before me at the Jimmy Awards. Look up his performance. Look up, like, all of his high school performances. He's crazy. I mean, Antonio, Ava, Noble, Zada, Casey likes this amazing. Amazing, of course, like. And it's. I hope it doesn't put pressure on these. That's what I get worried about is that these young people are like, I've gotta. If I'm not auditioning for Dear Evan Hansen tomorrow, I'm screwed. You know, I think There is some of that attitude, and it scares me. You gotta also be young. You have to.

[Mickey Jo]

I think high school theater kids will always have that level of intensity. They'll just. They'll rise to the tide of wherever it is. If the Jimmy Awards exist, then that's the thing they'll be aiming for. If it's just getting Evan Hansen, whenever the high school productions start rolling out, then it would be that same.

[Andrew Barth Feldman]

They cannot accept anything else. That's true. And I relate to that also. That's definitely true. I understand that.

[Mickey Jo]

So then, dear Evan Hansen was this incredible, presumably pretty overwhelming thing that happened next. One of my favorite moments from which is that video of yourself and Sam Tutty with two other Evan Hansens from Canada, from the North American tour, doing the For Evan cover of For Forever.

[Andrew Barth Feldman]

Yeah, that was crazy. And that has lasted in this really beautiful way. I'm so which. It's a show that before I was in, I was a massive fan of. I mean, I saw it for the first time when I was 14. I lost my mind. It said something to me that I had yet to be able to articulate about myself. So for that to be a really big part of the show's legacy now is remarkable. And shooting it and recording it was very strange because I was the only one who had to do a show that night.

[Mickey Jo]

I spoke to Sam about it, and I got to chat to him backstage in the West End this time last year.

[Andrew Barth Feldman]

What a.

[Mickey Jo]

And he said, like, yeah, he's fantastic. He's lovely. He said, thank goodness I didn't have to then do the show that evening, because you then had to go and do the version without the harmonies and without the thread of people going, shine on my face.

[Andrew Barth Feldman]

Yeah. Which I. Which, by the way, what a gorgeous arrangement. The way that all worked. Stephen was on a break right before he was going on tour. Robert, I think, had just finished the Canadian production and Sam was in New York to rehearse. That's why. So it was this weird moment where we were all there. But because I was there to be doing the show, I recorded the vocals separately from everybody else. I did it like a week earlier. So I went into the studio with Lack and he was like, we might add some harmonies. Not really sure, but just sing this straight thing and then we'll try a couple little differences, but we're not sure. I didn't hear it until we were on set to film the video, and I was like, oh, this is first of all astounding. It's an amazing arrangement, but Then you watch that video and the three of them are really singing it. And I'm not. I'm lip syncing it because I have to do the show that night. So I look like I'm singing the hardest. Because I'm like pretending to sing. So I'm like. And they're just like singing the song. It looks a little stupid. But I love that video. I love that video. I check in with it every like year and a half. I'll watch it again and we're gonna.

[Mickey Jo]

Know that every time. Now watching. Watching that back.

[Andrew Barth Feldman]

I'm lip syncing and they're not. That is true.

[Mickey Jo]

That's one of my favorite, just sincere, great musical theater moments on YouTube and some of my other favorites of yours that are no less musically brilliant but the littlest bit less sincere. The Yacht Rock Popular.

[Andrew Barth Feldman]

Yes. Yes. Third or Priest or Third or Prize. As Dan. We've discussed it. He is Dan Rudin, who made that arrangement and third Reprise as a whole. Keep tabs. He's amazing. They're doing amazing things. I'm proud to be like an early adopter of being a part of that. But it is an amazing, amazing thing that they're setting out to do. That Defying Gravity video is crazy. And that popular video was just a blast. I love. I will follow him into the depths of hell. He's incredible.

[Mickey Jo]

Yeah. Yeah. Lots of talk about whether or not the new movie ending of Popular might get integrated into the Broadway show or whatever. Because they're doing it in non replica productions now. And not enough talk. I think of the yacht rock popular.

[Andrew Barth Feldman]

Thank you.

[Mickey Jo]

Being integrated.

[Andrew Barth Feldman]

Thank you. Maybe a whole yacht rock production of Wicked.

[Mickey Jo]

Entire yacht rock. I was not familiar with yacht rock beforehand because I'm very glad to have.

[Andrew Barth Feldman]

Been your introduction because yacht rock is my favorite genre of music. That is true. I have playlists and playlists of yacht rock. There is something so campy but sincere and men having feelings. That's what yacht rock. Good Yacht rock really is. Let's just relax and let's just talk. That's yah rock. I love it.

[Mickey Jo]

I think it typifies you quite well as a performer as well because it has this relaxed quality. But then the melismatic things that you can do vocally. There was a riff that you did in Goodbye at the Jimmies that I saw a comment at one point that you shared that you just don't even like. There was a blackout moment and you have no recollection of even doing it. But I think your voice combined with. And this is Meant as an extraordinary compliment. Kind of the aesthetic of like, like a Disney character who has been brought to life for a magical day. Like I feel like is a big part of what makes you so exciting and interesting as a performer.

[Andrew Barth Feldman]

I really, really appreciate that. Vicky, thank you. That is a very, very nice compliment and I have nothing to say except thank you so much.

[Mickey Jo]

Yeah, I guess. Which brings us to the kind of the iconic event that was the ratatousical.

[Andrew Barth Feldman]

Yep.

[Mickey Jo]

Which I just remembered walking over here and was like we have to touch upon it.

[Andrew Barth Feldman]

It's my. It's probably my favorite thing in my so called career to discuss because it was just about 14 hours of my life filming that alone in a room during the pandemic. And from that, from all of those people spending less or more time than I to make that thing. We made the closest thing we had to a Broadway musical in that time. Like I was really, when we sat down to watch it, my family and I expecting it to be silly and sort of like all right, it's kind of a mess, but it is what it is. And the overture started and I cried. And you hear that story a lot from people because it was earnest. It was an earnest heartfelt musical made by creative committee, made by these friggin kids on TikTok putting these songs together and somebody saying I think this is a whole. I think this is one thing. Let's make it one thing. And it's just this gorgeous moment in time that if you were there, you were there. And people. It's my favorite thing to be like stopped on the street about and people at stage doors give me ratatouille gifts and things like that. It's the best. It's such a cool thing to be a part of.

[Mickey Jo]

You've been doing really interestingly this combination of returning to the stage but also a lot of really exciting major screen work happening as well. Which is something that not everyone is able to navigate. Certainly as early in their careers as you've been doing. I just watched the Saturday night movie recently on a flight over here. Your no hard feelings with Jennifer Lawrence. My question out of this is with so many movie stars taking to the stage, especially this Broadway season, George Clooney opening this week and Robert Downey Jr. And Jake and Denzel and so many other people. Is there a on screen co star of yours who you think should do a play in New York possibly with you?

[Andrew Barth Feldman]

Well, Cooper Hoffman is doing one right now. Cooper Hoffman is in Curse of the Starving Class and he's magnificent in it. And he may very well be my favorite actor I've ever worked with, to work with. He is brilliant. We just filmed another movie. We met during Saturday Night and just filmed another movie together. So he's already doing it. He's already here. It's actually his first time doing theater in his life. And we. I really want to do something with him, and we've. We've talked about it a lot, so I'd really, really like to do something with him. I think Jen would really love theater if she ever. If she ever wanted to give it a try. But first she has to be a mother, and that's very important. Yeah, but she. She's. She's just so great and so alive, and I would take any opportunity to work with her again. Absolutely. So many of the people in the cast of Saturday Night are just brilliant, brilliant actors that I would love to see on stage. This thing about, you know, so many celebrities here. If you can do it, do it. If you're. If you. If you're gonna get up there eight times a week and tell the story you're trying to tell, freaking go for it. Welcome to the community.

[Mickey Jo]

Is there anything to be said about working on screen, working on Broadway, and then kind of this midpoint, which is working in an intimate space like this or like the west side, where you were doing Little Shop with Sarah, and sort of the immediacy and the difference, I guess, being the palpable connection with the audience, especially in this play, but also everything kind of being that little bit more naturalistic as well.

[Andrew Barth Feldman]

I mean, they're all really different. Every film project is different from each other. Every theater project is different from each other. The gap between film and theater is massive. I have to say. In theater, we are coming to see an audience just as much as an audience is coming to see us. And with this play, especially with We Had a World, it is so immediate, and Little Shot felt so immediate. This is exponentially more immediate because I'm making eye contact. I'm looking people in the eyes. I'm changing the performance based on what one person in the audience gives me at any given moment. Trying to compare that to dear Evan Hansen, which was my first experience of doing anything that felt like I was just there with my scene partners. There's an energy from the audience that is its own ephemeral thing that can't be quantified. Maybe scientists will figure it out one day, but it is absent from film. There is an immediacy to film because the camera's right there. But you know when it's your coverage, you know when you've got to be on. You know when you don't really have to be on, and you should. You've got to do it for your scene partner. But there's just a flame that isn't lit in the same way that happens on stage. This is by far the most immediate thing I've ever done professionally, and I'm reveling in it. It's a real joy.

[Mickey Jo]

There was an amazing moment when we saw the show on Wednesday night. Janine had a line where she shares the quote from Jackie. Oh, yeah, yeah. And she said. And she said that. And an audience member was so moved to agree that they said audibly. Yep. And she pointed at them. She was like, that lady knows what I'm talking about.

[Andrew Barth Feldman]

She got a big laugh. I looked over at the. Like, we don't need your.

[Mickey Jo]

We don't.

[Andrew Barth Feldman]

Don't agree with her right now. No. It's like, I don't want to incentivize people being vocal during our play, but it is really a delight in the few moments that it happens, because it has happened now a few times, because there are moments where I ask the audience questions, can I tell you about this? Can I tell you about that? And there have been times where people say, yes. There have been times where people. One person laughs really hard at one particular thing because. Because it touches them in a specific way. And we can't keep going until we acknowledge it. We are here in the room. There is no fourth wall. There isn't one, which is a lot of responsibility for an audience also, that can't really be communicated in any way except for through the play itself. It's a very special exchange to be on this side of. To be this sort of pilot of everyday.

[Mickey Jo]

Before we close the book on chat about the world of film, there is one more dimension to your work as a musical theatre performer who has done stage and screen, which is at some point being in. And you've lent your voice to the new Snow White. Live action, but a fully fledged movie musical. And I think I've been saying for a long time, I'm going to pitch you this because obviously you get to decide. Obviously. I think if we're going to do a film version of Kimberly Akimbo, I think yourself and like Meryl Streep makes a lot of sense.

[Andrew Barth Feldman]

Yeah. All right, fine. I'll do it. Fine. That's a great idea.

[Mickey Jo]

I think so.

[Andrew Barth Feldman]

I would love to do that, especially given how inspired I was by Mr. Justin Cooley's brilliant, Tony nominated performance. He is magnificent. Continues to be magnificent. Dear friend of mine. Oh, my God, that would be amazing. And Meryl would be so good. Meryl would be amazing. Okay. Yeah, sure.

[Mickey Jo]

Many film producers watching. Yeah, I'll make some calls. But returning to We Had a World and how extraordinary all of it is. Such a brilliant company that you're in. I mean, getting to just for myself, being in the same room as Joanna Gleeson, who is an icon in the world of musical theater. Into the Woods. One of the most meaningful things I've ever seen. Her performance right up there in that. I just had to take stock just to kind of be able to keep breathing. But you get to share such miraculous material with her.

[Andrew Barth Feldman]

That's right. That's right. These really simply joyful, love filled moments that we have together and continue to play with and investigate every day and just find as much love. We're just like squeezing as much love out of these scenes as we can. And there's a darkness to that, as you'll see in the play. But it is only joyful to perform with her every day. She's magnificent and she's a magnificent person and she's really the leader of our company. And she does it effortlessly and brilliantly and with so much love.

[Mickey Jo]

Finally, then what is the thing about it that has. Is there anything you feel you're getting to do for the first time in this other than this being your first play in New York? Because it's like we were saying before, you're not having to think about singing and warming up vocally. And so it's in a smaller space. It's not the elaborate costuming. It's not all of the sort of the high pressure elements of a Broadway show.

[Andrew Barth Feldman]

Yeah. Oh, man. Theater is meant to be alive every day. And that's the challenge when you're doing a musical or even a play that is maybe more contained than our play is it becomes a machine. It just does at some point. It is a machine. It is kept alive by virtue of the fact that the people putting it on are quite literally living inside of it. And thus it will always be more alive than film or television. It will always be. But I've only replaced so far in my career. I've only ever replaced in musical theater. And by that point, the machine's already working. And you insert yourself into that machine and say, how can I infuse this with as much life as possible? That's not my job here. Because here we are at the outset of this play that is in the writing of it and in the performing of it, so alive. It demands to be alive in the different ways that we ask and answer the major questions of the play. It is more alive by the audiences that come in being some completely different every day. Both individual members of the audience and as an aggregate, they are completely different every day. So we have to be completely different every day. If we're listening to our scene partners, you. So that is extraordinary. It's kind of the dream of what theater is meant to be as opposed to the other stuff. So I've never gotten to do that and I think very few people really have, especially in this century. So I just feel incredibly lucky and that it's so small. It's just three of us keeping the ball in the air. That is rare. And I'm really lucky.

[Mickey Jo]

It's a tremendously special play. It's been really acclaimed. Everyone has been telling me how excited they've been to go and see it. I hope it continues to bring you all huge success and I wish you so much luck for the rest of the run.

[Andrew Barth Feldman]

Thank you so. Thank you so much, Mickey. This was wonderful.

[Mickey Jo]

Thank you for taking the time to chat to me.

[Andrew Barth Feldman]

I appreciate it. Oh, this was a blast. This was awesome. Seriously, what you're doing not to, you know, I am gonna turn it around on you guys for a second. But like, to make theater journalism youthful and accessible and fun and candid, we need more of it. So thank you. Thank you for keeping it alive here and abroad. It's the fandom and the love of it and the continued love of it. Needs somebody like you.

[Mickey Jo]

I appreciate that very much. Thank you. Thank you so much.

[Andrew Barth Feldman]

Thank you.

[Mickey Jo]

It was very nice to meet you.

[Andrew Barth Feldman]

It was great to meet you. Thank you, Mickey. Thank you so much. We'll shake hands and we will shake hands.

[Mickey Jo]

Thank you so much.

[Andrew Barth Feldman]

Thank you, guys.

[Mickey Jo]

Thank you.

Thank you so much for listening to this interview. Thank you to Andrew and everyone at We Had a World in New York City center for allowing us to come and chat. Let me know in the comments who you would like me to chat to next, either in the US or the UK. Make sure you're subscribed right here on YouTube or following me on podcast platforms. And I hope that everyone is staying safe and that you have a stagey.

Day for 10 more seconds. I'm Mickey Jo Theatre. Oh, my God. Hey, thanks for watching. Have a stagey day. Subscribe.