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Mickey-Jo stood onstage for JESUS CHRIST SUPERSTAR | everything you need to know about the standing tickets
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Now in my theatre going history, I have stood in standing positions in the auditorium. I have also sat on stage in onstage seating, but never before have I stood on stage for the duration of a performance as an audience member. Until last Friday when I saw Jesus Christ Superstar from one of the onstage standing positions at the London Palladium. And from the logistics of how it actually worked to my experience of the show from that new perspective, I of course am going to tell you everything about it. But just before I answer all of the questions you may have. Oh my God. Hey. Welcome to my theatre themed YouTube channel or hello to those of you listening to this on podcast platforms. My name is Micky Jo and I am obsessed with all things theatre. I am a content creator and a critic here on social media and if you've yet to encounter any of my content, I share all sorts about the theatre industry, predominantly here in the uk. A few weeks ago I was invited to review the opening night press performance of Jesus Christ Superstar at the London Palladium. So if you want to know what I thought of the show, you find more of my creative opinions about it and the performances in that rather than in this. Today we're really going to talk about the standing experience because this was my second time seeing this production during its run at the Palladium. I have seen this production, one which originally began in an earlier iteration at Regent's Park Open Air Theatre four or five times now. I also share theatre news updates, opinion pieces and interviews as well as theatre going vlogs. And I am sorry to say that I don't have footage to share with you of my experience on stage at Jesus Christ Superstar. On stage footage, even taking phones or cameras on stage during the experience is strictly prohibited. That being said, I have a very good memory and I've made a great many notes, so hopefully I will address any questions or curiosities that you might have about the onstage ticket experience at Jesus Christ Superstar. Now the show is currently running at the Palladium for a limited summer run. Subsequently, due to its huge box office success with Sam Ryder in the leading role, it is going to transfer to Theatre Royal Jury Lane where I understand they are going to continue to sell onstage stand getting tickets. So perhaps you have tickets booked for a forthcoming performance and you are going to be standing on stage and you want to know what it's like. Or perhaps you are weighing the possibility of getting some of those tickets for yourself, but you're not sure whether it's going to be the right decision for you. By the end of this, I promise to let you know the circumstances under which I think it is a good idea to book those tickets and when you shouldn't. Of course, some of you listening to this may have already experienced it for yourselves, and if you have, let us know your thoughts in the comments section down below. As always, if you enjoy listening to this and would like to hear more theatre content from me, then you can subscribe here on YouTube or follow me on podcast platforms. You can even sign up to my free weekly substack email newsletter that lets you know everything I've seen and everything that I've shared about it online. For now, though, I would usually suggest you figuratively take a seat, but today we're going to stand as we talk about the onstage standing experience at Jesus Christ Superstar. Now, you know I'm desperate to tell you about the creative experience of this, of seeing the show unfold from a new vantage point. But before we do, I think it makes more sense if we begin with the logistics. And to clarify, I was not invited or comped into this experience. We booked these tickets as soon as they went on sale, specifically for one of the performances at which Richard Armitage had been announced to be playing the role of King Herod. If you don't know, they are rotating a handful of different performers through the like 2 1/2 minute cameo role of King Herod throughout the show's run. I don't always book tickets very far in advance because I don't necessarily know what my schedule is going to look like that far in advance, but since these were only 25 pounds per person, I thought it would be easy enough to give them away to someone else or sell them on or whatever. If we couldn't go, luckily we could. And if you book one of these tickets, then one of the things you need to know prior to your arrival is that there is a suggested dress code. You need to wear all black. And from what I can tell, it doesn't necessarily need to be like stage crew, long sleeves, full covering black. There were people just wearing sort of generic dark clothes. People interpreted this in various different ways. It also wasn't an utterly strict dress code. Nobody was turned away. However, at one point we were told that if you weren't wearing plain black, you wouldn't be able to stand on the front row of one of the three standing sections. More on those in just a moment. There was also a staff member going around and offering little bits of black tape to cover any logos. So for those of you who can see me Right now I'm wearing a black top that would have sufficed, but this little Sunset Boulevard logo from the show's Broadway run would have to have been covered by tape, even though I would have been advertising another Andrew Lloyd Webber scored show. This because while the audience seated in the London Palladium can obviously see a certain amount of the people standing on stage, and while it does to a certain extent add to it, as I mentioned in my review, it makes it feel like a gig, but we also sort of become the crowd that plays various different roles as the narrative evolves. What they don't want is for any individual audience member standing on stage to become a distraction. I think they may even have had some spare black T shirts that they were offering people the chance to swap into. But don't quote me on that, I only sort of half overheard it. Now, before you get to the stage, when you ARR at the London Palladium itself, there is a separated queue for the onstage standing experience. You go through a separate entrance. It is, as you look at the front of the historic London Palladium, the entrance to the right side of the main sort of box office area. And it's very clearly signposted. As you go through, you will encounter multiple members of security and front of house staff. There is a thorough bag check and then a member of the front of house staff will check the surname on your ticket bookings. This little check happens again when you are readmitted into the auditorium after the interval, because everyone who has a standing ticket has to leave the stage during the interval and then go back in. Now, after our surnames were checked, they directed us towards a small box office where another member of staff was dispensing some of the information that I'm about to share with you. And we were given wristbands. This just to clarify that we were in the right place when it came time to go through a door, down a stairwell and into the backstage area. All of this basically to remove the need for printed tickets or your phone, because that is the next big bullet point here. Your phones have to be either secured in yonder pouches, which are little sealable pouches that are then on long straps and they can hang over your shoulder like a long bag or around your neck so you can keep it on your person even though you can't access it, or they need to be put away with your bags. And if you have an on stage standing ticket, then you are offered free use of the London Palladium's cloakroom, which is Just behind the main merchandise booth, next to the stairs, up to the dress circle level, or I think it's the royal circle at the Lond Palladium. Excuse me, misnamed a circle. I decided to just turn my phone off and put it in my bag rather than have it in the yonder pouch. The only real reason to have it in the under pouch, I suppose, is if, for the sake of security, you'd rather have it on your person and if you want the opportunity to look at it in the interval. I thought it didn't really make much of a difference to me. They do, however, distribute free bottles of water which they ask you to keep upon your person at all times, which also means not putting them down on the floor where you will eventually be stood. This because I imagine there is too great a risk of the water being spilt, which could worst comes to worst result in a showstop while they dry it so as to not cause any injuries. Imagine you bring down Jesus Christ Superstar because your water bottle fell over. How embarrassing. And he didn't even turn it into wine. But it's a thoughtful way to make sure that the audience members on stage are remaining hydrated. I will say I did not find it oppressively warm and I was concerned because I'd been in the stalls a few weeks before and I. The air conditioning was good. I didn't know whether that would reach the stage area in the same way, but I thought it was a pretty chill temperature on what turned out to be a fairly hot day of the year. That being said, of course, if you are somebody who struggles with the heat or with dehydration, or who doesn't care to stand for long periods of time, obviously this particular means of watching the show is not going to be suitable for you. Please don't put yourself in a dangerous position if you don't think that you can necessarily handle it. And I say that it wasn't particularly grueling. It's also not a very long show. Each of these acts are, I believe, around an hour in duration. Maybe just under the second in particular really flies by. But in any case, it's not like you're standing for Hamlet, which in fairness, people famously did. And while the show was happening, I never really got bored of standing or was particularly aware of the fact that I was standing or found it fatiguing. The slightly more fatiguing and boring part was the pre show, because they ask you to arrive in excess of 40 minutes before the start of the performance. And what follows is an Awful lot of queuing of lining up, whether it is at the entrance of the London Palladium or up towards a door, or through that door and down a set of stairs. Then in the interval, same thing all over again. And you do spend a decent amount of time stood there. So if you're thinking to yourself, I can get through it, if I can just sit down right up until the moment I need to stand. You will be standing for some time before the show begins, so that's something to be aware of as well. Worst case scenario, but quite likely scenario, you could end up standing for around three hours from the time of your arrival. Oh, and there is the opportunity to use the bathrooms, the restrooms just outside of the Royal Circle entrance in the Palladium pre show, as well as during the interval, the interval when everyone has to leave, which is a great moment for me to explain to you that there is no real way for you to hack this and stand in the spot that you want to. If you have seen this production, or even just seen pictures of this production and its stage layout, then you will already know that the audience who are standing on stage are divided. Three main sections. There is one central section and then there are two sort of tower structures on either side. And the audience is in the ground floor, lowest level of each of those, split evenly, I believe, between the three. Certainly, as they were gathering us in, they were shepherding groups of 23 at a time, and I believe they sell in the region of 75 standing tickets per performance. Now, those groups go in based on the order that you started queuing up to the door, which is also based on your arrival to the London Palladium. Depending on how that first group forms when you go up the stairs and how they then put you into a line, there can be a little bit of shuffling happening then. But also when they take you in in those groups, there is no indication which tower they are going to fill first. Also, as our group went in, we walked forwards and then we turned around and that then became the reversed order in which we went into the actual standing area. So where we had been sort of third or fourth, fourth in that queue to go in, we were suddenly third or fourth from the end of that queue. So there really is no way to hack it. And I don't think it's worth the stress of trying to preempt it or figure it out. I think you just make the best of wherever it is that you end up. And also, just when you're getting used to that in the first Act. Like I said, everyone leaves for the interval, and when you go back in, you're quite possibly going to be at a different position in the queue with different people on either side of you. But even if you're in the same position in the queue, they will probably allocate the spaces in a different order yet again. And there is possibility you end up in a different section to the one in which you spent the first act. It's all good, though. There are staff members in each section who will explain everything to you and who are also there to make sure that you are okay. They're also there to make sure that you behave yourself. Think of them like flight attendants. They are there for your comfort, but particularly for your safety. And they will reaffirm all of the information that I am telling you now. Here is what happened to me. I, in the first act was in that central section, which is wider than it is deep. They pulled six people out to go into a very small, little separate section in three rows of two. From what I could tell, the rest of us pretty much all fit along the front row with less than half a dozen people, of which I was one, standing behind them. And much like with concerts, if you are a taller person and a shorter person asks to stand in front of you, that's actually a great deal for everyone involved. They can see and you can see over their head. It's a perfect sort of symbiotic relationship. Meanwhile, I thought that section in particular, especially if you were in that second row, afforded you a lot of room to move around and a little bit of flexibility. I am someone who occasionally, not often, but just occasionally, struggles with crowd environments and an inability to kind of like stretch out and move if I need to. That area is also immediately in front of one of the areas where the band is situated, where they are playing some percussive instruments. More on that a bit later. And in the second act, I ended up in the back row of the stage right tower. As you look at the stage, it's the one on the left. And there's something of a trade off because obviously this production has primarily been built to view from the front. So if you are in the central section, you are looking at it basically from behind, which is less detrimental than you would think. But if you're in one of those side towers, then a sideways view of someone, for the most part, singing and facing forwards allows you to at the very least, see their profile rather than the back of their head. Even though realistically, there is enough business and enough characters in this sort of swarming physical production that there is always something or someone for you to look at. The trade off, though, is that I think the actual opening of the tower level in the middle is a larger and clearer one. It's easier to see the full stage rather than the one at the side where you feel like it's a little bit lower. You're looking slightly more through a post box. And I found myself again with space to move around, but kind of like stepping down and up onto levels. Sometimes you will have a couple of ropes of people standing on the same level. So you need to hope that you're taller than the people in front of you. But there are also, in those side sections, both of them, I believe, little steps that sort of rake it so you can go up a step. And that gives you more of a chance to see over the people in front of you if you don't end up on the barrier. Now, let's talk about sound. Because it suddenly occurred to me as I was arriving that this might also be a problem. Because if you've ever performed on stage, you will know the sound quality that you're hearing as a performer is quite different to the overall mix that the audience are hopefully hear out there in the stalls or the circle. And I was pleasantly surprised. And I don't know whether this has been a conscious choice because they have the audience members standing on stage, but how great the sound mix was in that on stage standing area, with the additional fun of the acoustic volume of various instruments also echoing around you, particularly in that first act with the percussive instruments that were immediately behind us. Not the full drum kit, don't worry, but the other supplementary percussion instruments. I might even go as far as to say you could tell the moments when they were using some canned ensemble vocals, but that would be slightly contentious, so I won't. On the subject of volume, the staff members on stage also offered ear defenders to anyone who wanted them, as they offered a few final instructions which perhaps seem obvious but were important nonetheless. One of them was no singing, which many people, myself included, interpreted as. We also must make sure that we're not lip syncing along with the songs, even though some sufficiently illuminated woman in the second row of the stalls absolutely was for the entire show. They are very clear that you should not talk to or touch or distracts the actors, of course, in the moments when they are passing you. There are also some moments when the actors come right up towards the standing areas. There is one moment in the second act when an Ensemble member moves through one of the standing areas. They don't offer an awful lot of clarification about this and I kind of anticipated that they might be like, this is exactly what's going to happen. This is exactly where they're going to be. But they were basically like, if this happens, then just kind of go with it and give them space. Which I thought was quite brave. But everything worked out fine. As Mary Magdalene sings Everything's all right. Yes, everything's fine. I also interpreted Don't Sing as Don't Dance along, which I think is covered by the umbrella of Please don't be distracting. And that's really the thing to remember. And I will say I was surprised how difficult it was to restrain myself. And I see a lot of theatre and I pride myself on being a conscientious, well behaved audience member at the best of times. But I don't really think about how I'm sitting or what I'm doing doing when I'm sat out there in the darkness. I try. I don't really think about myself, especially if I'm engaged in what's happening on stage. But even when I was. I was very aware of how I was standing and, like, trying not to shuffle too much or I just felt very conspicuous and I preferred. I briefly had been stood at the front and then I stepped back into that second row in the first act and that was much better. I think I would have felt far too perceived for the duration of the ship show. Maybe you're into that, maybe that's part of the experience. But I preferred being slightly further back in the darkness. And the last rule, which horrifyingly was based on things that had been noticed over the past couple of weeks, was please don't take off your shoes. I know I compared it to an airline where people frequently do this and that's its own conversation. But needless to say, if you are standing on the stage of the London Palladium, as an audience member, I know, like when you go into someone's home, it's a polite thing to do, but that does not apply in historic venue. Honestly, people trouble me, they really do. But we've spoken enough. I think about the actual logistics of how this works. If there are any questions I haven't addressed, let me know in the comments. I will do my best. Let's talk about what it's actually like to experience the show from on stage. Now. I booked these tickets for the sheer novelty of it. I've stood on a few stages, never when a show is happening. But I'd never stood on the London Palladium stage. I'd been backstage, I hadn't actually stood on the thing. And it's historic. And I thought that's sort of like a milestone bucket list achievement that needs to be ticked off. And what a fun way to do it. I really booked for the novelty. I wanted to know what this was going to be. And at the time of booking, we didn't know how this was going to work. And even before the show starts, it is so exciting to get to go backstage and see everything around and look up and those are the flights. The scale of that space is so vast and so incredible. And then when you step onto it and take your positions and you look out into the auditorium and it's illuminated before the show and you can watch three tiers of audience members in this huge venue taking their seats and chatting. It was great people watching, even if they look like tiny little theater going ants. But yeah, that was, that was a pretty special experience. And it gives you some insight, especially when they then start performing into what it's like for actors, because you can see things pretty much from their perspective and how little of the audience they're actually able to see. And you can feel the interchange of energy between them. But I'm getting ahead of myself. There are, I think, two reasons why it may be preferable to do this experience if you have seen the show before. One of them is to do with following the narrative. And Jesus Christ Superstar is a sung through rock opera which delivers plot details in its lyrics. But if you miss them, or if you miss the nuance of something, you won't necessarily understand the meaning between certain shifts in power dynamics that are at play, or certain things that have been said, or certain bargains that have been struck. And this production notably does a little less than some others to acquaint you, you with those specific details. Because it is for the most part, a recontextualization that turns Jesus Christ Superstar and turns this story into rocky gig theatre. And so, for example, rather than telling us exactly who these priests are and what their beef is with Jesus, instead we are depicting them as a sort of heavy metal aesthetic boy band with staffs that flip upside down to become microphones on stands. And needless to say, if you are watching this, this from the side, or particularly from behind, you may struggle even more to follow what is happening from one moment to the next. So it is advisable, I think, that you at the very least know the show doesn't have to have been this production. But I think you ought to know the premise of Jesus Christ Superstar, and we all know the vague story of what happens to him. Spoiler alert. But I think if you've seen any version of the show before, if you know the majority of the score, then that is probably prerequisite enough. If it's truly your first time seeing Jesus Christ Superstar in any capacity, I would watch it from the front first. The other reason why you may want to have seen this production already is because there are several moments at which you may be tempted to actually look away from the stage. And I say this not because there aren't enough exciting things happening on stage, but because there are also a lot of other exciting things happening around you. If you're anything like me, as I know many of you to be, who care an awful lot about theatre, theater, you may also be fascinated by the lighting changes and how they're being achieved from behind these staging sections. As you feel a change in lighting happening behind you, as you perceive it coming over your shoulder, you may, if you're stood in the right spot, want to turn around and look at the crew members, at the actors who are waiting to go on and make their entrances. You can see an awful lot of business happening behind you that you know they have to do. They're not trying to. To obscure this from you. Normally, it's not something you'd have the opportunity to see, but from those positions you newly can, which is very exciting. I mentioned the proximity to the band. You may want to turn around and watch these percussive instruments getting played by these musicians. And why wouldn't you? You're watching the show, you hear a xylophonist behind you. You suddenly realize that that's quite specifically loud in the musical mix. And you realize how close you are to the xylophone. You turn around, you have a little glance at the xylophone phone. It's a particularly novel experience for anyone interested in the wider creative collaboration that is theatre. Beyond just what's happening on the stage. Here are some specific examples that are the slightest bit spoilery about things that happen in the second act. There is a moment when a very long train of fabric gets pulled rapidly off into the wings that it was dragged on from. And it was great to watch a crew member waiting there like an Olympic sprinter waiting to start and suddenly reel the whole thing in. There are also quick changes happen. Not actors in a state of undress kind of quick changes, but where a sort of long, white sort of church like Smock is put over ensemble members as they're going on and off during the 39 lashes. And I'd noticed during Press night that that was happening, happening very rapidly. And it was great to watch that from the other side and actually see those quick changes happen. Where we were in the second act, we also saw Richard Armitage and David Thaxton waiting to make their entrances as King Herod and Pontius Pilate, respectively. And though I don't know whether or not this happens at every show or if we were just lucky, after David Thaxton had finished his entire track as Pontius Pilot finished everything he had to do in the show, he made a sudden reappearance appearance behind us, unseen, by the way, by the seated audience, having thrown one of those smocks over his outfit, climbing through the bars of the section where we were standing like a monkey and head thrashing animatedly to the song Superstar. Again, don't know if he does that every show. Very fun to turn around and suddenly see. I'm not sure I engaged with it in the way that he was hoping or the way that I was supposed to because he was so close to me and there weren't that many of us in that rear part who noticed him. But I turned around and he was just there, like, dancing through as pilot. And I don't know, it's one of those things where you're so close and it's almost uncomfortable to then, like, stare at the person. So I was, like, just gonna enjoy that he's there and carried on watching the great choreography happening on stage. Another of my favorite moments. And I spoke, I think, about this lighting moment in my full review was being a monk's. The lighting shift in Gethsemane that starts as, like, a warm glow and ends up feeling like a forest fire. Like this eventual blaze of light that comes from the back of the stage and feeling the heat of that almost on the back of your head, feeling that brightness pass you and beam out into the auditorium. That was very cool. I've always love a great lighting moment. I rarely get to be amongst those great lighting moments in such a profound way. And it will probably surprise you little to learn that I really enjoyed getting to see all of those details and getting to see the show from that perspective. Once you've already seen something once, it's fun to look at it in a new way. I usually mean that figuratively, but on this occasion, literally and kind of pick apart how it works, you've experienced it naturally, you can go back and try and Figure out the mechanics of it as a piece of theatre. But in addition to the novelty of that, I also thought that the standing experience for this production was maybe better than sitting. And I know that's very confusing because I said, if you haven't seen it before, do sitting first and then do standing. I enjoyed the standing more. As someone who has seen various iterations of this production by Tim Sheder, I just felt so involved in the emotional immediacy of it. And one of the most compelling things about the narrative of Jesus Christ Superstar is the transition of this pro Jesus mob into the same mob that calls for his crucifixion. And situating yourself on the crowd amongst them is just this fascinating experience. It was also great to experience Drew McCone's choreography at such proximity. It's a little harder to glean the overall stage picture, but I think you walk away from this experience with more appreciation for individual ensemble dancers. If you sit a little further back, a little higher up in the theatre, then it's easier to take them in as just like a unified chorus. When you're that close, you're gonna be drawn to individuals and you respect that talent over there. And then you're watching this one. There are also a couple of moments at the very beginning when the ensemble first take to the stage, when you get some acknowledgment from them, whether it's just eye contact, whether they come up towards the sections. They are, for the most part, performing out and away. So it's nice that they will occasionally throw a bone. Sam Ryder moves right past the sort of stage right tower at one point around Gethsemane. I know I said, I already reviewed it and that's not what this was going to be, but something incredibly exciting happened. We'd booked for Richard Armitage, so we were anticipating him, and he was one of the best Herods I've ever seen. Actually, I'll explain why. I think the strongest performance in this production is given by David Thaxton as Pontius pilot. I think he's just brilliant. Brilliant. And Armitage's Herod, though there is still a camp factor, felt very much like an alternative version of Thaxton's pilot, but just like another similarly brutal, authoritarian leader existing in a slightly different part of the land. Like, you understood how they could both exist within the system and they felt like they were in the same show. Doesn't always feel like Herod is in the same show as everybody else, but Armitage basically managed to straddle the camp and the Darkness within his material and sounded great. A lot of other people who were there were curious as to how he would fare because they didn't know he had done musical theatre. But Richard Armitage has a past in musical theatre. Mann was in Cats before he became a big screen star, before I got to see one of his previous stage returns as John Proctor in the Crucible at the Old Vic, where I'm just realizing I also had onstage seats cheating. I know it was 12 years ago, but I hope he doesn't think I'm a stalker. Anyway, we knew Richard Armitage was on as King Herod, but I had checked a few weeks ago what Billy Luke Nevers alternate Judas dates were because Tyrone Huntley is the principal actor playing the role of Judas. He is just brilliant. He's so, so good. And Billy Luke Nevers is the alternate Judas. And I've seen Billy in enough shows to know how phenomenally talented he is. He normally plays the role of of Simon, but it didn't align with this performance that we'd already booked. So when we went into the theater, having not checked anything, having surrendered our phones, having not seen a cast board even, and found ourselves on stage in these introductory moments, realizing that we couldn't see Tyrone. And then is Billy wearing something different to what he's normally wearing? Is he the last to get lit? Is he walking over? Is he grabbing the microphone? Is he singing? He's singing Heaven on Up minds. It's a Billy Judas show and it wasn't meant to be. That was so exciting. And to discover it in real time on stage. How fun. So much fun. So it was really great to hear all of his gorgeous vocal choices and experience his performance, one that I thought was really characterized by passionate adolescent frustration. He was a very interesting, youthful Judas. Meanwhile, my general thoughts on the performances at close range are that the good stuff that I already liked gets even better and the bad stuff that I didn't gets just a little bit worse. The performances that I was skeptical about from an acting point of view, seeing those at close range sort of highlighted further shortcomings. But the really brilliant stuff, David Thaxton's act two moments as pilot when he's singing don't let me stop your great self destruction. What an extraordinary treat. Street to be a few feet away as he is giving this blistering sort of soul bearing performance. You can see the veins bursting. You can see the extent to which he is giving everything of himself over to this really sort of nail biting moment of musical theatre singing. It's absolutely incredible. Desmond de Cathabel has never sounded better than I thought she sounded the other night singing the Mary Magdalene material material. It's just a real privilege. It is obviously not the most comfortable way, it's not the best sight lines, it's not the most ideal way for how it's been directed to see a show point blank, but it's a real privilege and a unique opportunity to see it from that vantage point. So those then have been absolutely all of my thoughts about standing on stage for Jesus Christ Superstar. They are going to continue to offer their this throughout the summer at the London Palladium then, I believe, at Theatre Royal Drury Lane. I don't yet know whether it's confirmed if they're going to be doing this at tour dates around the country. Seems logistically very challenging if they are, but I would definitely encourage people to experience this, especially if you have some prior understanding of the show. I think you need to have seen Jesus Christ Superstar, not necessarily this production this summer, but I think you need to have seen the show at least once once so you know what's going on so that you can appreciate it from this sort of slightly alternative perspective. But there's also so much more to appreciate at the same time. And you know, who knows when any of us will get the chance to stand on the London Palladium stage again. That's pretty damn special too. For now, if you have any questions whatsoever about this experience which I haven't addressed, please let me know in the comments section down below. Like I said, if you're curious to know my thoughts about this production and its performances and all of the creative choices, you can find my full review wherever you happen to be seeing my face or hear my voice. You can also subscribe for many more reviews and other theatre themed content coming very soon. In the meantime, I hope, as always, 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.