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- [00:00]
Mickey Jo
Okay, close your eyes. Exhale. Feel your body relax and let go of whatever you're carrying today. Well, I'm letting go of the worry that I wouldn't get my new contacts in time for this class. I got them delivered free from 1-800-contacts. You guys, they're so fast. Oh, sorry. Namaste. Hi there.
- [00:22]
Christian Edwards
Did you find everything okay?
- [00:23]
Mickey Jo
Yes, I did. Because I found the exact same contacts as my eye doctor prescribes. F1,800 contacts. Here, give me that. Attention shoppers. Did you know 1,800 contacts has 45 million contacts in stock? Okay, we checked the brakes. Everything looks good. You know, speaking of checking, did you know 1, 800 contacts triple checks every order? Yeah, they make sure you get exactly what you need when you need it. 1-800-contacts. So good, so fast, so accurate.
- [00:52]
Parissa Shamir
You'll want to tell everyone too.
- [00:54]
Mickey Jo
Download the app or visit 1-800-contacts.com today and save on your first order.
- [00:58]
Christian Edwards
1-800-Contacts contacts.
- [01:00]
Christian Dropo
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- [01:59]
Acast Host
Acast powers the world's best podcasts. Here's the show that we recommend.
- [02:07]
Knox
Do you like being educated on things that entertain but don't matter? Well, then you need to be listening to the podcast with Knox and Jamie. Every Wednesday, we put together an episode dedicated to delightful idiocy to give your brain a break from all the serious and important stuff.
- [02:19]
Jamie
Whether we're deep diving a classic movie, dissecting the true meanings behind the newest slang, or dunking on our own listeners for their bad takes or cringy stories, we always approach our topics with humor and just a little bit of side eye. And we end every episode with recommendations on all the best new movies, books, TV shows or music.
- [02:35]
Knox
To find out more, just search up the podcast with Knox and Jamie Wherever you listen to podcasts and prepare to make Wednesday your new favorite day of.
- [02:42]
Christian Edwards
The week.
- [02:46]
Acast Host
ACAST helps creators launch, grow and monetize their podcasts everywhere. Acast.com.
- [02:56]
Christian Edwards
You may have heard of Jesus turning that biblical water into wine. Well, get ready to have your wine transferred into a plastic container as you transition from an outdoor performance area to an indoor performance area. Listen, I had a flavored gin and lemonade with my complimentary beverage voucher and if that isn't a miracle, I don't know what is. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to you if you're listening on podcast platforms. My name is Mickey Jo and I am obsessed with all things theater theatre. I'm a professional theatre critic here on social media and in the last month I have seen an awful lot of revivals of Andrew Lloyd Webber scored musicals, the biggest being last week when I saw and reviewed the new Jamie Lloyd directed production of Andrew and Sir Tim Rice's Evita at the London Palladium. This week it was time for another of their collaborations from the 1970s, but this time in a very different production at a very different venue. I headed to the Watermill Theatre in Newbury, which is an intimate regional British theat theater known for their actor musician productions. When they do musical theater, that is to see their production of Jesus Christ Superstar. And not to compare the two, but it was really interesting seeing it in the shadow of the very loud conversation around Evita, but also having seen in the past few weeks Sunset Boulevard once more on Broadway, another Jamie Lloyd directed production, but also a production of Cats in Aurora, Illinois that was circus themed. You can find reviews of all of these wherever you are seeing or hearing this. And it's interesting because when I'm reviewing a piece of theater that is a revival, I'm doing two things. I am thinking about the original material enduringly, even if I know it already. And I'm thinking about how this production relates to it and uplifts it and supports it and channels it and reconfigures it and reconceives it and recontextualizes it in some instances and you know, finds new parts of it or illuminates old parts of it, whatever it may be. What is this revival doing to and with and for this material? And that's the thing that I want you to keep in your mind, because it's what I was thinking about when I was seeing this show. We're going to talk about this production and why I didn't necessarily feel as though it took me all the way to heaven, as it were. Now, if you have been to see Jesus Christ Superstar at the Watermill Theatre in Newbury, I would love to know what you thought. Share your thoughts in the comments section down below, please. It has received a whole bunch of really fantastic reviews, so everything that I have to say about the show notwithstanding, I do encourage you to go and check it out for yourselves, especially if you've never visited the Watermill Theatre before. It's a truly unique theatrical experience, especially with what they're doing in this production with some of the promenade elements, which I'll tell you a little bit more about. But first, let's talk briefly about the material, this bold rock opera, the venue itself, this intimate regional space in Barkshire, I think, and what happens when those two very opposing forces came together. And as always, if you enjoy this one, make sure you're subscribed right here on YouTube or following me on podcast platforms. Let's talk about Jesus Christ Superstar. So Jesus Christ Superstar, like I said, Angelo Dwebber and Tim Rice collaboration, the predecessor to Evita, a later collaboration of theirs in many ways both because, you know, they both began as concept albums before they were fully realized stage productions. So in both cases the score is the really emerging element and was always the focus of the material. They are both essentially rock operas, Jesus Christ Superstar being significantly more of the rock persuasion in terms of its musical genre, but neither of them really featuring any kind of dialogue. And they are both, of course, biographical plots which follow these dual historical figures from humble origins who attained sizable followings and had significant political influence during their lifetime, but who were also criticized in each musical by the narrator. They do not narrate their own stories, but they are the subject of each show. And in Evita, her political rise and career is told from the perspective of another character called Che, kind of loosely based on the activist Che Guevara, while in Jesus Christ Superstar, ingeniously, the story is told from the perspective of Judas Iscariot, one of his 12 disciples, who famously would betray him by giving him up for a rest in the Garden of Gethsemane. And if you're thinking right now, wow, Mickey Jo knows a lot more about the Bible than I expected. I did go to a religious school for about seven years of my life, but it is mostly from musical theater I'll be honest. Anyhow, the decision to frame the whole thing from Judas's perspective is what drives the tension of the entire piece, because he is the first voice that we really hear from. It begins with him having been in a state of anxiety and confusion, but telling us right at the very beginning of the show that his mind is now clear. He hasn't known how to feel about all of this. He has been plagued by doubt. But now he has come to realize what the problem problem is. And that is that from his perspective, Jesus as a personality and as a figure and as an identity has grown bigger than the. The cause that he is representing them, the faith that he is preaching about, than what it is that they are all trying to do. There is also a little bit of an idea in this introductory song. And Jesus Christ Superstar has never been beloved of the religious community. For what it's worth, there is a lyric in there where Judas suggests, I remember how this whole thing began. No talk of God then we called you a man. The idea that Jes initially was recognized to be mortal among his disciples, his apostles, and only later, only with all of the kind of, I guess, cult of personality that arose, for want of a better term, became known as the Son of God or the incarnation of God on earth. Again, however, you want to interpret the Bible. And the musical takes place over the final few days of Jesus's life, ending at the point of the crucifixion. So offering no kind of perspective on the possibility of Jesus, you know, knocking the rock out of the way and coming back to the party, as it were. But Judas whole thing about Jesus as a personality growing bigger than the ideology is very important to the plot because we have these other characters who were priests at the time, Jewish priests, specifically led by Caiaphas, who, though, you know, ideologically aligned with Jesus, saw him as a problem, thought that he was going to cause trouble for them with the Romans. And all of this is also outlined in Tim Rice's lyrics to the brilliant song Heaven on Their Minds, which is what Judas sings at the beginning. And it's a big part of the real thorny conflict of the show. There is so much conflict here. Judas wrestles with the decision of whether or not to betray Jesus and tries to convey to the priests and to the audience by extension, that he did this for what he believed to be the right reasons. Jesus wrestles with what he believes to be his own purpose and the mission bestowed unto him by God. When he sings the very famous song Gethsemane, when He reckons with his own imminent demise. Pilate, who is held responsible for the faith of Christ after his arrest, has to decide what decision he is going to make, having sort of prophesied everything that is going to happen subsequently. And Jesus's own followers in the crowd who greeted him singing hosanna and hailing him Superstar when he arrived at the beginning of the show are the same ones who later turn against him and form an angry mob calling for his crucifixion and death. So there's really sticky stuff going on here in Jesus Christ Superstar, a lot of which is only really conveyed if you pay attention to these lyrics. Otherwise, you just get this bold, flashy rock music portrayal of the final days of Jesus's life and a little bit of romantic subplot, thanks to basically the only woman who you're going to see on stage, Mary Magdalene, who has complicated feelings for Jesus that she doesn't know what to do with. As she puts it, she doesn't know how to love him. And there's plenty of really fantastic material in this show, aside from its most famous songs. Gethsemane, Heaven On Their Minds, I Don't Know How To Love Him. Also, like King Herod's song as well, there are some really brilliant sections of music. The Temple is classic Angelo dwebber, playing with these interesting and funky time signatures. Although, side note, there is a lyric in there that I've sung before and I've heard multiple times, and I only really processed it when I was watching the show earlier this week. And it's, you know, the Temple having become like a den of sin and trading and selling and no longer a house of prayer. And Jesus gets very cross about this and screams and falsetto about it, as you do in musical theater. And it's, take your pick of the finest wine, Lay your bet on this bird of mine. And I never really processed that. And I guess it's like they're getting roosters to fight. But just in the moment, as I was listening to it, the image that suddenly popped in my head was like, guess the weight of the goose. Anyway, my point is, lots of other great music in Jesus Christ Superstar. The whole pilot and Christ sequence is really thrilling. The way it leads into one of the greatest musical theater fanfares of all time when we get Baa Ba leading into another of the show's most famous songs, Superstar, sung by Judas after his own death by suicide. Spoiler alert, once more for Things that Happened in the Bible, which is funky and fun and has great vocal arrangements. And so contradicts the mood of where we are in the narrative at that time, as Jesus is, you know, being strung up on a cross. And we get this, like, fun, out of context soul number. It's a little bit waltz for Ava and Shea, actually, now that I think about it, because it's a kind of in limbo reflection between the narrator and the subject of the musical moments before their death. Hadn't made that comparison before. But once again, it's the lyrics which are the greatest triumph here, because Judas sings not from a perspective of the times as they were, but from a contemporary perspective, existing post death outside of time and space. He says to Jesus, why do you choose such a backwards time in such a strange land? Which is honestly a potentially problematic way of phrasing it. But he goes on to say, if you'd come today, you'd have reached a whole nation. Israel in 4 BC had no mass communication and this was in the early 1970s. Did Sir Tim Rice predict the future of social media? Anything is possible, anyhow, that is Jesus Christ Superstar. It is full of huge rock anthems and power chords and high falsetto rock screaming by various different astonishing vocalists over its history. So it is curious, then, when you go to a production at a venue like the Watermill Theatre in Newbury, which is intimate, which is, as the name suggests, a converted watermill, it has a very small capacity. And when they do stage musicals, they are actor musician productions, which is to say that the performers on stage in the cast are also playing instruments. This is not a deliberate stylistic choice as much as it's a component of the venue's limited space. There is nowhere to put a band, so inherently they have to stage actor musician productions when they're doing musicals. And the whole actor musician concept, I guess, was really pioneered by John Doyle, but it's been very well maintained in the UK by artistic director Paul Hart and the Watermill Theatre. And so that begins to paint a picture of the kind of Jesus Christ Superstar that you would do in this setting and in this context. The problem is that it is coming on the heels not just of the big opening of Evita the week before, but also the global success of a previous production of Jesus Christ Superstar staged back in the 2010s at Regent's Park Open Air Theatre by Timothy Sheder. That production had the priests and the apostles playing instruments, playing guitars, using microphones on microphone stands and smashing amps, and Judas hanging himself using an electrical cord, and Jesus as a sort of a frustrated gigging frontman, singer, songwriter type. It was very much Jesus Christ Superstar as conceived within the aesthetic of gigging and rock and roll. And so it leaves you fairly little space in which to conceive a Holly original production using actor musician elements and a similar kind of an aesthetic. So I think the Watermill and Paul Hart really had their work cut out for them with this one. And it's worth saying that production didn't just happen at the park, it was then remounted multiple times. It transferred to the Barbican, it toured all around the uk. It went to the us. It's currently touring right now in Australia. It was very prolific and I think it's been very well remembered. And not that every single revival has to be high concept, but I think as an extension of it being actor musician and having the actors on stage playing instruments, it kind of invites a concept to be married to the production. It can't at that point necessarily just be another version of Jesus Christ Superstar with a traditional staging, because already it's pushing it down a certain pathway and you have a choice when you're doing acting musician shows, you can either embrace the use of the instruments and it can become clever and meaningful and whimsical. Think about the 2006, 2007 revival of Company, directed by John Doyle on Broadway and also the UK production of Amelie. Both made ingenious uses of instrumentation visually and in terms of what that meant for different characters and emotions. But if you don't necessarily lean all the way into it, then you end up with this slightly sticky thing where the apostles are trying to calm down Jesus from having a pre death rant and being like, what are you talking about, Jesus? Keep eating your bread. We all still love you very much while they're holding a cello. And it just a little bit gets in the way. Like Mary Magdalene being stunned and dismayed by Peter denying three times that he was ever a follower of Christ and strumming her own chords on the guitar at the same time. Like it can work in.
- [16:46]
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- [17:18]
Christian Edwards
A context like, I don't know how to love him when it's a little more laid back and like, she's accompanying herself. So it can feel like even more of a personal thought and moment than usual. But when she's, like, playing the guitar at Peter in kind of, like angry friend condemnation, it doesn't all the way work for me. But like I said, the Timothy Sheeta Regents park production had made that challenging. So what do the Watermill do instead? Well, they pull out another trick that they have been deploying recently that I believe they did for the first time when they staged another massive musical at their small venue, the Lord of the Rings. And that's a production that I discussed when I saw it at the Watermill a couple of years ago. You can check out that review here as well. But one feature of that is that the audience began outside. They created the Shire location outdoors. And then when we set off towards Mount Doom, the audience and the performers moved together inside the venue and then took their seats. And this happens in a slightly different way because the show begins indoors, but then after the interval, we then have the Last Supper and a couple of songs that follow, all taking place in the gardens of Gethsemane, which is one of the final lines that we've heard at the end of the first act. So it makes sense for the audience to then be seated in a little outdoor garden area around a fire pit with the apostles moving around and celebrating and relaxing and reclining amongst us, which is brilliant, which I love. And it's only when Christ is arrested and they sing over and over again, take him to Pilot. Take him to Pilot. Take him to Pilot. Take him to Pilot. In case you missed it the first three times that we then return into the auditorium. And so it becomes a little bit of a promenade performance. And there's a certain awkwardness in terms of how long it takes for us to all get from this outdoor setting back to our seats. And so the momentum of the second act does get pierced a little bit, but at the same time, Jesus Christ Superstar is a deceptively short show, and the running time can contend with a little bit of an extension. And so we find ourselves doing a little bit of promenade theater in Jesus Christ Superstar, of all things. And I love that. I love theatrical novelty. I love anything atmospheric and sort of semi immersive, especially when it comes to exciting staging. And I love a venue like the Watermill faced a couple of years ago with cuts to their Arts Council funding, looking around at everything they have and everything that they can utilize, including the These beautiful grounds with a lovely garden area and a flowing river and little ducks walking around and thinking that this can also be a theatrical space. I really like the way that it's so fully utilized in this, because where we actually sit is we encircle a little fire pit area with Jesus performing Gethsemane within that and with the Last Supper within that. But when Judas is brooding at the beginning of the second act, during the Last Supper, he's miles away. He's off sulking by a tree, holding a guitar, looking grumpy while they're all eating bread because he's just given up his friend to be murdered, basically. And then when that actually happens and Jesus gets arrested, Caiaphas and Annas, because they have to be so dramatic about it, they don't arrive themselves, no. They've sent guards to go and seize him. But they are standing at two different points on the roof of the building, feet up in the air, miles away from us as well. And we only notice because people glance up in their direction and we're like, oh, my gosh, they're on the roof. Like, that is amazing. That is really exciting theater making from these creators. Divs wandering around outside and going, what if they were on the roof? What if we did that? That is so cool to me. And I wish that that level of enthusiasm and innovation and creativity felt like it reverberated throughout the rest of this production. Sadly, I didn't feel like it did. I found it difficult to discern, whatever the identity overall of this production of Jesus Christ Superstar was beyond the little novelty of going outside for the start of the second act, beyond the reality of actors playing their own instruments. And I felt like perhaps as a result of that, or just in. Because of the reduced company that could fit on stage, this epic rock musical lacked its usual impact. But as we glance back at my conversation about the material, I do also want to acknowledge that I think it is, like Evita, challenging material from a narrative perspective. And the first time I saw Jesus Christ Superstar, the Open Air Theatre production, I loved it. When I then saw it again on tour, I thought to myself, you know, if you didn't know this show, I think you would have a hard time following the narrative, which is exactly what I said last week about Evita. I think there is little bit of a similarity there. And it's difficult to be a rock opera with no spoken dialogue. It's also difficult to revive one. And I think sometimes you find yourself directing these shows, like Maria Friedman directing Merrily We Roll along where the material is actually extraordinary and you just need to kind of clean everything up and present it in the right way. And it's always been great. Sometimes you find yourself directing musicals that are always going to need that little bit of a push, that are always going to need clever staging, that aren't going to necessarily just sing by themselves. The SC or For Jesus Christ Superstar rocks in whatever context, but the actual narrative of the thing requires careful explication. So let's discuss a little bit further how this production tries to contend with that. Now, to begin with, a little more praise. I did really enjoy the set design from David Woodhead. I liked the little bits of set dressing that we had in the outdoor space. But inside the auditorium. I recently was on a riverboat cruise.
- [22:47]
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- [23:20]
Christian Edwards
In Chicago, Illinois, where I was learning about the artistic concept of contextualism in architecture, whereby buildings take into account their local geographical features for their design, for their construction. And that is what struck me about this set. Because the inside of the Watermill has this sort of chapel like feel to it in the way that the set is shaped with these sort of church familiar designs on the stage is very much matching the symmetry of the room. And it makes the whole thing feel like a completely designed bespoke space, even though it isn't. And there's a sense of that carrying on into the outdoor space as well, because the rugs that line the floor and the benches that we're sat on feel a lot more like church carpeting and church pews, which I assume has to be deliberate. Now, with Paul Hart's direction, we do get something of a sense of Jesus as the frontman of a band, with his disciples as supporting musicians, but it's only really vaguely conveyed for the entirety of the first act. We're just sort of doing an interpretation, a fairly traditional interpretation of Jesus Christ Superstar. And everything's moving as it needs to and the story is being told as best as it can be with a limited number of performers on stage. The problems begin on that front a little bit more in the second act, because I just don't think that you have enough performance, we can just about make up 12 disciples. You just don't have enough people to then separate off and become guards and convey the sense of Jesus's own supporters and the crowd who encouraged him then being the same ones who turn against him and condemn him. We struggle to understand that with so few people in the playing space. And that, I think, is a really important reality of the show and to be fair, a nuance that is often lost. I find in productions of Jesus Christ Superstar there is a little bit of a familiarity in some of the stylistic choices that we have in the second act. King Herod's song Wrong is far and away the most high energy moment of the show. It's at this point that the whole thing suddenly finds a little bit more punch and a little bit more impact. Herod and his entourage come on in like suggestive leather look BDSM wear, which is an idea that has been toyed with before in previous productions. But it feels like it's taken even further in this one. It's a strong choice. I like the way that it's choreographed. It's risque and it's subversive and it's dangerous and it's like Rocky Horror on. I was going to say Rocky Horror on acid. Rocky Horror on even more acid than usual. Rocky Horror goes to church. How about that? And then gets kicked out after about 20 minutes. The costume design is also the brilliant work of David Woodhead, but I said choreography a handful of times and that is by Angela Meara. And King Herod is portrayed maniacally by the wonderful Samuel Morgan Grimm. He is a huge part. I mean, he's so devilish and sinister in this number. He's a huge part of what? Why this is a show stopping moment of an otherwise sort of middling production that never really lights on fire. This moment ignites and then sadly it kind of extinguishes again after it's done, despite the best efforts of Jesus's persecutors, led by Christian Edwards as Pilot. Christian Edwards, who you may have known better for several years as the social media personality West End producer. I only mention that now he's an actor in his own right who subsequently revealed his true identity. But I only mention it now because the voice that he's doing for Pilot does have a little bit of the West End producer to it. But I never knew he was such a multi talented instrumentalist as well. He plays a bunch of instruments on stage and it's a very convincingly characterized and very well sung pilot. Some of the standout performances for me, though, came from Caiaphas and Annis, played by Ologbenger Adlekan and Alexander Zane. Thrillingly sung in opposite octaves. I love a Caiaphas that can really dig into the ground when singing. We need a more permanent solution to our problem before Annis then comes in with what the Da do about this Jesus Mania. It like flies from the bottom of the male vocal range right up to the top. It's like one of those carnival things that you hit with a stick and then it goes ding up the top. It's so good. It's so good when it works. And we can't begin talking about terrific vocal performances without talking about Parissa Shamir, who was probably the most exciting part of this cast for me going into the show and certainly didn't disappoint as Mary Magdalene. I really enjoy her voice and she's one of those performers. She's also a writer as well of musical theat. She's one of those performers who really puts a song across brilliantly when accompanying herself as well. And the acting through song and just the tone of the whole thing vocally, really lovely performance, really fantastic work. And finds, I think, about as much as there is to find in Mary Magdalene's material. Like she has feelings for Christ and then she's sad when he gets arrested and that's really all there is to it. Seb Harwood joins her in the second act as Peter for a lovely duet of could we Start again, please? Make some brilliant vocal choices. And I like that moment between the two of them an awful lot. Now, I should point out, I didn't see a press night performance. I saw the show a few days later. Max. Alexander Taylor usually portrays the character of Judas but was not performing at the performance that I was at. Michelae Dante's was the COVID doing a terrific job with a deeply challenging role. Not just because it's so vocally audacious, but because I think because the nature of the characterisation you have to take such full ownership of it. And I really liked the way that it was characterized. It's a hell of a sing. I thought he did a great job, but it might potentially represent a part of why I felt at that performance we lacked a little bit in terms of impact. Sadly, though I will say I wasn't particularly convinced by Michael Collwadia's performance as Jesus. Don't get me wrong, Gethsemane was sung brilliantly and that is an incredibly difficult song to sing. So that's not for nothing. There were a couple of spoken lines towards the end of the show that I found to be disappointingly unconvincing. And, you know, Jesus is on the cross and he's just been lashed and tortured however many times. And that is the metaphorical position of. Of martyrdom. We still invoke it now and I think we just needed to hear a more tortured, distressed quality in the voice. And when he was like asking where his mother was and talking about being thirsty, it was though he was just mildly inconvenienced by the whole thing. It was less like I'm suffering an agonizing death and more like, I have a slightly dry throat. Don't worry about getting me a glass of water right now, but later on if you get a minute. And even in Gethsemane, I think we really need to get a sense of that challenge and, and frustration. And I wasn't getting See how I die so much as See how I grumpily sit down on this bench after singing a very impressive high note. And like I said, there are plenty of things I still enjoyed creatively about this production. I liked the neon signage in the temple sequence. I liked the way that Herod was revealed. I like the way that Superstar was staged. If it felt just the littlest bit claustrophobic in that space. And those choral moments when they were singing like well done Judas and poor old Judas it's etc. Worked so well in that intimate church like setting. I kind of wish that the whole arrangement and orchestration of the score could have been adapted a little bit more to give it more of that feel. This is a world in which you're trying to reconceive Jesus Christ Superstar, this epic rock opera, as a chamber musical, and I felt that we needed to take that idea even further. That's what the Watermill version perhaps ought to have been, because that's where it works. Those little moments of Acapella were far more striking than the big power chords were trapped to be. In any case, those have been, once again, just my thoughts about Jesus Christ Superstar at the Watermill. If you have had the chance to see the production already, I would love to hear what you thought of it in the comments section down below. And if you haven't visited this venue before, if you haven't seen this show on stage, all good reasons to go and check it out for yourself. In the meantime, thank you so much for listening to my review. I hope that you enjoyed. Make sure to subscribe if you want to hear more of my theatre reviews coming very soon and I hope as always that everyone is staying safe and that you have a stay stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day.
- [31:18]
Parissa Shamir
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- [32:16]
Mickey Jo
Thanks for selling your car to Carvana. Here's your check.
- [32:19]
Hershey's Representative
Whoa.
- [32:19]
Christian Edwards
When did I get here?
- [32:20]
Mickey Jo
What do you mean?
- [32:21]
Hershey's Representative
I swear it was just moments ago that I accepted a great offer from Carvana online.
- [32:25]
Christian Edwards
I must have time traveled to the future.
- [32:27]
Mickey Jo
It was just moments ago. We do same day pickup. Here's your check for that great offer.
- [32:31]
Christian Edwards
It is the future.
- [32:33]
Mickey Jo
It's it's the present and just the convenience of Carvana. Sorry to blow your mind.
- [32:37]
Hershey's Representative
It's all good.
- [32:38]
Christian Edwards
Happens all the time.
- [32:40]
Mickey Jo
Sell your car the convenient way to Carvana. Pick up. Times may vary and fees may apply.
- [32:48]
Acast Host
Acast powers the world's best podcasts. Here's a show that we recommend.
- [32:56]
Christian Edwards
Love music. We do too. Well, if you ever feel like it's hard to keep up though, don't worry, we're here to help. Monday through Friday, Daily Music Headlines gets you the top happenings in music from chart toppers, news releases, concert announcements and more. All in less than five minutes. Don't miss out. Get the show at dailymusicheadlines.com.
- [33:24]
Acast Host
Acast helps creators launch, grow and monetize their podcasts everywhere. Acast.com.