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- [00:00]
A
Oh, my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to you if you are listening on podcast platforms. My name is Mickey Jo. I am obsessed with all things theatre, as is the special guest joining me today, my stagey fiance, Aaron James.
- [00:14]
B
Hello.
- [00:15]
A
Hello to you. We are here together today for what reason, Aaron?
- [00:18]
B
We are gonna go. So today we're going to go through our theater resolutions of 2025. These are things that we want to work on this year. It doesn't mean we have to complete it by this year, but these are our hopeful things that we will achieve in the year.
- [00:33]
A
Yeah. Things we want to do a little bit more of. I mean, you'll find out. We have each written down six theatrical themed resolutions on pieces of paper and then we put them into Elphaba's hat, courtesy of the Noble Collection, because of course we did. And we're going to take turns taking out one of our own, reading them out and then talking through them. Maybe we'll have written the same thing.
- [00:55]
B
Yeah. Because I feel like some of these. We've both spoken about saying resolution for the year.
- [01:00]
A
We're pretty aligned on our theater going, which is handy because we go with each other all the time, which is useful. My thoughts are with you, the couples where one of you wants to go to the theater all the time and the other one doesn't as much. Yeah.
- [01:14]
B
Luckily we're both quite stagey.
- [01:15]
A
Yeah, yeah, yeah, yeah. Maybe the deal is if we've both written down the same thing, we have to do it.
- [01:20]
B
Okay. Okay, I can do that.
- [01:22]
A
I'll go first. Let me take out one of my.
- [01:24]
B
Are you looking for yours or are you just gonna pick one out?
- [01:27]
A
I'm looking for mine. I want to have mine in a random order to me. So it's like a surprise from writing them one minute ago.
- [01:33]
B
I was gonna say either one of us picks it out and we say it and then it hits the other person's. They go, okay, so let me explain.
- [01:40]
A
Oh, okay. We can do that, but I've already got this one, so I'll start with this one. Fine. This is one of mine. I can tell because of the color of the sharpie. It says book that last show. I've mentioned to you already what this means. Yes, but this, I think it's basically inspired by Next to Normal this year where we loved the show last year. Last year it's 2025. Thank you. We loved the show and we knew we loved the show. And then this has happened to us a few times. Closing week Rolls around, we're like, oh, wouldn't it be great to be at that last show? And obviously by that point it's already.
- [02:14]
B
Sold out or it's really expensive, it's completely sold out.
- [02:16]
A
Or there's like one ticket left and it's £200 and they were scrambling. We're like, obviously we're not gonna be able to get rush on the last day because everyone's gonna want it. And so book that last show. This is if you fall in love with a show, if you know you're gonna wanna be at closing or even if you have an inkling, try and think ahead and think, I'm probably gonna wanna be at that closing show. Especially for those limited runs.
- [02:40]
B
It's good for making sure you don't double book it as well where you're like, oh no, I'd actually. And now doing something else on that day, but it's going to close.
- [02:48]
A
Yeah.
- [02:49]
B
So you know you've marked it in your calendar. Even if you don't buy the ticket straight away when you book a show, if you know it's a limited run, like mark it in your calendar and then think, right, I'll see it the first time. Then if I love it, book the end. Know that you're going.
- [03:04]
A
Yeah.
- [03:05]
B
I mean you don't have to worry about it and you'll know you'll get good seats. Because I think sometimes if you don't book it straight away, you'll end up wanting tickets to the last show and end up with seats that you're not gonna enjoy.
- [03:17]
A
If you get seats, if you get seats at all. Because they get booked up. Because chances are if you love something, other people probably do as well. This also goes for first previews. Like I'm glad that we ended up at the Hadestown first preview last year back in February.
- [03:33]
B
And I'm glad we were at the Titanique first one as well.
- [03:35]
A
Yeah, yeah. But it was touch and go with Hadestown because we weren't going to. And then I impulse bought some, some very expensive tickets. So yeah, when there's exciting shows coming over, maybe shucked is this year's.
- [03:47]
B
Yeah. And even with new casts, I think sometimes when a show replacement cast, if you are really excited about them and you're thinking, oh my gosh, what are they going to be like, sure, you can wait and you'll want to let them bed into the show. But also are you then going to spend ages after they first go into it being like, oh, I want to find out what it's like, and you'll be looking for things. Sometimes I'm thinking if you're that excited about it, book those tickets to see that first performance and then you'll get those endorphins and then you can go back to it. Like, I love the phrase treat yourself. Yeah. Something you're really excited about. And then you wait or dither. You're only actually giving yourself like sadness rather than happiness.
- [04:30]
A
There you go. There you go. Theater for happiness.
- [04:32]
B
Yeah.
- [04:33]
A
Book that last show if you think you're going to want to see that last show. Aaron James, reach into the hat.
- [04:38]
B
And I just thought I said this thing. But then what? Both. It's all yours. I can see one of mine. So I was trying to do.
- [04:47]
A
That was Sweeney Todd, wasn't it?
- [04:48]
B
That was Sweeney Todd.
- [04:49]
A
Anything goes.
- [04:50]
B
Okay, so I've gone with one of mine. So this is to use Mezzanine throughout the year. I mean, this is a very much a me thing and not a Mickey thing because I am an iPhone person. He is an Android person.
- [05:04]
A
I'm thinking of getting a new phone because mine is truly the battery health is not what it was. And fair play to Samsung who have offered to replace the battery.
- [05:14]
B
Yeah.
- [05:15]
A
But I'm thinking just incidentally to use that to get a new phone anyway. But I might go to a Google Pixel. I'm really reluctant to go to an iPhone because I'm secretly a bit of a technophobe and I don't know how to use them. I don't know how to use them.
- [05:28]
B
If you didn't know about Mezzanine, it's an app that is on iOS devices and you basically can track all the shows that you see. You can conn with people, you can see your friends kind of diaries for shows. But I've been using and get and recently backlogged all my shows, which take you a while. Yeah. But what's really good is it means that you get a poster, the Playbill photo for the show. It will show you an overview of how many percentage wise of Broadway theaters you've been to. Western theaters. There's a map of all. If you globe a globetrotter to see theatre like we are, it's really cool because it'll create a map of all the theaters that you've been to. It's really fun for anybody that's like analytically geeky about theatre. If you're a spreadsheet person, this is like ultimately for you. But this is to get me to stay doing it through the year because I feel like around this period of time, you can get really into something like that over the Christmas festive period. And then once the year starts, you're like, yes, first week all sorted, and then the week after. And then like a month later you go, oh, wait, I haven't been tracking it. So now, like, the. The evening after, I've watched the show, the morning after, add it into mezzanine. You can do more. You can track the seats that you sat in.
- [06:44]
A
Wow.
- [06:44]
B
You can track. You can review on there. You can do all these things. But, yeah, my. I just want to keep at it because I'm really enjoying it. And if you want to find me on Miss Knee, it's just my name, but all some of our friends are on there, like, yeah, Kate. And a lot of content creator friends. So, yeah, that's kind of one of my things is just to get into that and to keep. And to also backtrack and do further pass things because I want the data to be accurate. Yeah.
- [07:13]
A
Have you been doing it for the first few shows of the year so far? How many so far?
- [07:19]
B
I've seen three. You've seen four?
- [07:20]
A
I've seen four. Okay. Okay. Should I tell my funny mezzanine story?
- [07:24]
B
Yes.
- [07:25]
A
In the hopes that maybe we get an answer. So we were stood outside of some Off Broadway theater on, like, it was.
- [07:33]
B
The one where I Lander played.
- [07:38]
A
That's really incidental to the story. But we stood with a handful of friends and they were talking about mezzanine. And so I was kind of tuned out of the conversation because I can't use it because it's only on iOS. And they were talking about there being a leaderboard. And someone said, mickey, Jo, obviously you're really high up the leaderboard. And I was like, I'm sorry, what? They were like, you're really high up the mezzanine leaderboard. And I was like, I don't have it. And there was a Mickey Geo Theatre mezzanine account that had accurately tracked the shows I had seen on the dates. Now, these are not the dates my reviews are published because my reviews almost always are subsequent, either the day after or a week after or a month after. But they've been using, I guess, my Instagram stories, when they turn on Instagram, post it. And they'd even got like, festival, like fringe shows on there.
- [08:23]
B
And the reviews, like, they put the reviews that you've put online.
- [08:27]
A
Yeah, yeah. Oh, yeah. They attached the star ratings as well. They've been really.
- [08:31]
B
It was really intricate.
- [08:32]
A
Yeah, yeah. Really dedicated in maintaining that. But I Was like, this is not me. It's not inaccurate, but it is not me. So still have no idea. I think they stopped at a certain point. I think they got bored with me.
- [08:46]
B
I mean, what's funny is we have an iPhone that you could use to try Mezzanine at the timefoot. I know bits of her thing. So if you want the closest to accurate of what we both have seen, check out mine.
- [08:59]
A
Head to Erin. I'm gonna take another one from the thing. This is one of yours. I'm gonna open it. I'm gonna show it. This says to visit or tick off another Broadway theater. There you go. There you go. Talk us through this.
- [09:12]
B
So we are getting really close to having been to every single Broadway theatre.
- [09:16]
A
We are.
- [09:17]
B
We are like, under 10.
- [09:19]
A
I think it was probably about five or six away.
- [09:21]
B
It is really close. So this year I've just been like. Even if it's just one more. Because I think our issue is now we're getting to the point where the only theatres we have left have long runners in.
- [09:33]
A
Yeah.
- [09:34]
B
And that becomes difficult when we're flying over because we're normally trying to see the season. So it means that those theatres, we've just kind of been like, one day we'll go there, but it's not the main priority for us. So this year I'm just kind of like, even if it's just one of them, to get a little bit closer to having been to Walden would be really cool.
- [09:52]
A
Yeah. And I think we will. We've been doing well on recent trips to be ticking off. We did the Lyceum just recently with Omari and Broadhurst. Did the Broadhurst.
- [10:01]
B
The Marquis.
- [10:02]
A
Yes. Yes.
- [10:03]
B
We did quite a lot in our last trip. And with Gypsy on at the Majestic, it's kind of easier for us to see one because that's a new show that we really want to see and would then tick off another new theatre.
- [10:16]
A
Yeah. For the sake of the full list, then, which are the ones which are outstanding. We were lucky. We haven't seen the Lion King on Broadway, but we saw Ragtime and Concept at the Minskoff.
- [10:27]
B
We've seen a performance there.
- [10:29]
A
If you were to ask me, the Minskoff is a theater where every time you go into it, you see the original Broadway cast of ragtime, because in 100% of my experiences, that's what's happened. So that's what's playing at the Minskof as far as I'm concerned.
- [10:41]
B
So we haven't been to the Lyric, the Richard Rogers.
- [10:46]
A
Oh, yeah.
- [10:46]
B
The Eugene O'Neill.
- [10:48]
A
Yeah. Neil Simon.
- [10:49]
B
The Neil Simon.
- [10:50]
A
Is that it? And the Majestic, because we've been in the palace as well after they. So we're looking at kinky boots and raised it up.
- [10:57]
B
Yeah. So it's only a handful left.
- [10:59]
A
Yeah, yeah, yeah, yeah. I think. I do think the Majestic, out of those is the most likely.
- [11:05]
B
Yeah. Because unless there's some big reason to go to one of the others or something happens, it's just not.
- [11:12]
A
Unless shock, horror, one of them closes on board.
- [11:14]
B
And sometimes then we might rush there or we might rush there to see it, to tick it off. I think the one that's. Of the Long Runners, that kind of feels like an inkling to see would be to see Hamilton at the.
- [11:24]
A
I was going to say I would see Hamilton at the Richard Rodgers.
- [11:27]
B
Yeah. I think that's probably the highest above the Long Runners, where I feel like there's a reason to go and see it over there, because even though we have it, it's always that thing that if the West End also has it, there's even less.
- [11:39]
A
We had Hamilton at home.
- [11:40]
B
Exactly. But the idea of seeing the show at its home whilst it's still there.
- [11:44]
A
Sure.
- [11:45]
B
It's fun.
- [11:45]
A
Yeah. Yeah. Makes sense. Well, there you go. To visit and tick off one other Broadway theater this year.
- [11:52]
B
Okay, your turn.
- [11:54]
A
Take it from the hat.
- [11:56]
B
Let's go here. Oh, it's one of yours.
- [12:00]
A
It's one of mine.
- [12:00]
B
So I'm intrigued because this is quite. Quite. Doesn't have much detail in it. It just says the RSC and the National.
- [12:08]
A
So these are the two theatres in the UK that I think I. And by extension, we do the worst job at visiting. Yes. And just generally keeping in touch with. And it's not because it's Sparks, it's not because they're not doing great work and it's not even because we're not interested in the work. It's just because we fall out of touch with them and the rsc. There's been multiple times where I've been booked into an RSC press night last year and had to try and move it around. I had to cancel because of other things. And I feel so bad because I like going to the rsc. It represents a little bit of a travel challenge. Yes. Relative to a lot of it. Like, it's a lot easier for us to go into London and see a West End show and then get back the same night rather than something at the rsc. But it's not impossible. It just needs a little bit more planning and we go to Edinburgh and we go to New York. So getting to Stratford Upon Avon is not the hardest thing in the world. And truly getting there is not the challenge, but it's.
- [13:09]
B
It's normally getting back. It's always after a show. How easy is it to get a journey back? Yeah.
- [13:16]
A
Yeah. But also just kind of being more. Both of these organizations are doing a lot of, I think, really good outreach with new audiences and with new media and with young audiences. And I want to be more participatory in that. Rather than just feeling like I'm shouting about these very commercial West End productions, I want to be more actively sort of in association with those venues. And I've done a couple things in association with the national in the last year, but missed most of their programming just because. Just not really keeping on top of it. So that's a big goal for this year, is to see more shows and to work more closely with the Royal Shakespeare Company in Stratford Upon Avon and the National Theatre. And I think it will happen.
- [14:02]
B
Yeah. And I think that kind of opens up to something I didn't write, but I feel like links to that is the plays. Because I feel like. I feel like we're better at seeing plays on Broadway than we are over here, probably. Yeah. Where over here, it feels like we have a lot more plays happening just in general. Even in London, there are so many more plays happening. They go very quickly. And with our traveling, you can't factory in. Or they just kind of get lost in the fray. Whereas when we're on Broadway, we're like, filling things in a schedule.
- [14:34]
A
Yeah.
- [14:35]
B
And maybe it's because we don't know where people will be excited to learn about plays, because it's very hard to find a strength for the play audience online.
- [14:44]
A
Yeah.
- [14:45]
B
But it's something that when people talk about it, we're always like, oh, we can't actually talk about the place as much when you talk about the Oliviers.
- [14:51]
A
Yeah.
- [14:51]
B
Or we'll miss it on the first run and it'll only be when it comes into the Western. But then it's seeing it and, like, you're so happy that you saw Giant before it.
- [15:00]
A
Yes.
- [15:01]
B
So there's many different shows like that, but it would be nice to be able to sport more how the timeline of it and the scheduling works.
- [15:10]
A
Yeah. Because just seeing more and more and.
- [15:12]
B
More and more and more is very tricky.
- [15:14]
A
I want to see Edward II in the first few months of the year. I want to go and see. Here we are at the National.
- [15:20]
B
You really want to see Nye.
- [15:22]
A
I do want to see. Yeah, yeah. So that I think, hopefully will get us back to those venues and we'll keep going there more throughout the year. That is the plan. Is it your turn to. Did you take that one? Oh, it's my turn.
- [15:36]
B
We need the opposites.
- [15:37]
A
Cool. I've got another green one here. So let's talk about this. And there it is. I haven't read it yet. To visit at least three new to me UK theatres.
- [15:48]
B
Yeah. So kind of goes off the RSE International in terms of feeling like it should be a priority from the start of the year. Is that last year we did actually probably see. Go to multiple new theatres. At least. Definitely to me.
- [16:04]
A
Do we want to talk through that and figure out if we both did? Because we went to. I'd never been to the Bristol Hippodrome.
- [16:10]
B
Nor me.
- [16:11]
A
So that was a new one. Are you thinking, like, regionally more?
- [16:14]
B
Yeah, I'm thinking across the. Well, across the uk. London and across the uk. Because I'd never been to the Arcola.
- [16:20]
A
Oh.
- [16:21]
B
So with Crybaby, it's kind of interesting as I'd like to see that there. So it's kind of become a priority. But last year there were. We'd never been to Nottingham before.
- [16:30]
A
Oh, yes. Yes. That's a new one for us. Yeah.
- [16:34]
B
Must have at least done three new ones.
- [16:35]
A
But it's surprisingly hard.
- [16:37]
B
It's surprisingly hard to realize where was snow to bring them to mind.
- [16:40]
A
Yes.
- [16:41]
B
But I guess technically we're Battersea Arts center, but we weren't in an actual theater space for that.
- [16:46]
A
Oh, for 13. Going on 13. Sure, sure.
- [16:50]
B
Oh, no. And seven Dales Playhouse. I'd never been there before.
- [16:52]
A
Oh, okay.
- [16:53]
B
So that was another new one for.
- [16:55]
A
I might have just about visited three new theaters and one of them is evading me. But specifically regionally, you're right. I think we're certainly not visiting them at much of a pace.
- [17:08]
B
Yeah. I kind of just wanted to make it a goal was to. When things are happening, to visit them or just to think about that when we're doing things. Because I really liked when we went to Nottingham and we could highlight a. Like highlighting different cities. And I feel like we talk often about the West End and London and then New York and different places. But actually in the uk we talk about Edinburgh a lot when we go there for the Fringe and we'll talk about our home, our hometowns fondly. But it'd be nice to kind of showcase a bit more of what UK theater is like. Where things happen.
- [17:49]
A
Yeah. Are there any specific theatres in the UK you would love to visit this year? Because I've never been to the old Joint Stock. I've never seen anything there. I've visited the building. You took me there, but I've never seen a show in there. And with them doing the non Replica production, the first British regional production of Be More Chill, that's probably a great excuse to go and visit the Old Joint Stock.
- [18:09]
B
Well, I guess one of them was the Arcola.
- [18:11]
A
Yeah.
- [18:12]
B
Because I've worked with the Arcola, but I've never been there. So that was kind of one of those, oh, finally, tick that off moment. Can I think of anywhere else?
- [18:21]
A
I mean, you've said to me before, there are entire parts of the UK where neither of us have seen theatre, where you would like to.
- [18:28]
B
Yeah, I think there's loads of cities where I've written about them or spoken about them or we know productions are happening there. But if I was like, oh, actually, I don't know. So I feel we're talking about. And I'd like to just make sure that. And learning about things properly.
- [18:44]
A
And yeah, I have a couple bucket list British theatres, because I've been to.
- [18:48]
B
Oh, oh, I've got one.
- [18:50]
A
Yes.
- [18:50]
B
But I just don't know what's gonna be programmed there. Sure, it's a Minak.
- [18:55]
A
That's what I was about to say, but I forgot the name. I was gonna be like, edge of a cliff face.
- [18:58]
B
Cornwall.
- [18:59]
A
Help me. Yes.
- [19:00]
B
Because the Minack and Theater. Or Plymouth, actually, because they did so much this year and I've never been there. But the Minax kind of won a rose. It's one of the most, like, natural beauty, special places that we have. And I'm like, I've actually never been there, so I can't profess that. Oh, my gosh, this is so special because I know it is from everyone and I can see this. It is.
- [19:25]
A
It's incredible and the story is incredible and I've been there on a tour which I also thoroughly recommend and it was lovely and I've got great photos from it, but I've never seen a piece of theater there. Do you know what? Someone emailed me the other day. I hope they don't mind me saying they're doing. I think they're directing one of the various amdram. Les Mises, but they're doing one there.
- [19:48]
B
Oh, that would be very special at the minute. Yeah.
- [19:50]
A
If you don't know, Les Mis is doing this big community project this year.
- [19:53]
B
Especially with the start of it.
- [19:55]
A
Yes, the start Musical.
- [19:56]
B
Because it is linked to the water.
- [19:58]
A
Yeah, yeah. I think someone was saying in my comments the other day they'd seen the Tempest there, which obviously. Yeah, makes a ton of sense. I'd love to see something like A Funny Thing Happened on the Way to the Forum there. I think one year we were on holiday nearby and they were doing Spamalot. Well, they'd done Spamalot the week before and we thought, oh, wouldn't that have been brilliant to see there? But I mean, really, anything. Just the majesty of that setting is so breathtaking. That's a great one. Is it theatre by the lake as well?
- [20:25]
B
Yes. In Keswick.
- [20:26]
A
Yeah. That's one I've always wanted to see.
- [20:28]
B
I've been inside that theater a lot of times, but I've never been in it to see anything.
- [20:33]
A
Yeah, I've never done Edinburgh Playhouse, which you had.
- [20:36]
B
I'd like to do the other main Edinburgh theatres, though, because I love the Edinburgh Playhouse so much and I've been there many times. But there's the other big, like, touring venues there, which I never experienced. And I know also, like, Glasgow is a big place for theatre and it's a place I've never even been to before.
- [20:58]
A
Oh, the Royal Lyceum in Edinburgh.
- [21:00]
B
Yeah.
- [21:00]
A
Yeah. It's doing some fun things this year. My weird flex is I have been to Theatre Royal Plymouth. I've been to both of the theatres in Plymouth. Possibly there's more, but I've been to Plymouth Barbican as well. And that's surprising, really, because I don't think I've spent a lot of time in Plymouth, but every time I've been there, I've been to the theatre. Who's shocked? I was that young person on a family holiday that was like, there is a theater nearby. What if we drove for an hour to go see Blood Brothers at the hall for Cornwall in Truro, and me and my dad did, in the middle of a family holiday.
- [21:32]
B
And there's theatres like Norwich, for example, where they're doing a lot of work for new musical theater.
- [21:37]
A
And, yeah, Ault Millennium Centre is another one of mine. And I think I'm pronouncing this correctly, the Bordgas Energy photo in Dublin. I think those are both. Would love to see those. Good one. Good resolution for this year. I think it's your turn.
- [21:53]
B
It's my turn next. I feel like I'm just gonna, you know, I feel like I'm gonna keep to just saying yours because we've fallen.
- [21:58]
A
Into A pattern here.
- [21:59]
B
Yeah. So this is. Do the homework.
- [22:02]
A
Okay. This is quite specific to me, but people can take from this how they choose to, because obviously the way that I approach a piece of theatre through a critical lens is a little bit different than if I was just going to have a great time.
- [22:15]
B
Yeah.
- [22:16]
A
But I think a lot of people do this as well, even if they're not critics, recreationally or professionally. Because a lot of people, in my comments come up with these very discerning takes on theatre. A lot of our friends who go and see that, like, people form opinions about stuff. And last year, on several occasions, I had really mixed feelings about should I, before I see this show, acquaint myself with the material or with the source material. And on a couple of occasions I regretted not having done so.
- [22:47]
B
Here we are.
- [22:47]
A
Here we are. As a big one. Yeah. But I'm so torn on it because I think at the same time, it's an adaptation. And so for me to understand it, as a critic, I can't really do that without considering the source material. And I'd have to talk about in my review how well they have adapted the source material. Now, I wasn't actually reviewing that show, so I let myself a little off the hook. But at the same time, I think if you're charging an entire ticket price for an entire product, it should stand entirely on its own and it shouldn't require homework. I'm kind of a big, big proponent of the idea that theatre ought not to come with homework.
- [23:21]
B
This kind of brings up the point of the outsideness, I think, for both of us.
- [23:25]
A
Oh, yeah.
- [23:26]
B
Where we've noticed that people who have a history with the novel feel very differently about that musical compared to people that don't have any association with it because of how they view it, how accurately. And bringing the energy of the novel to the stage and the nostalgia of it as well. And the nostalgia. But then if you don't have that, any of that pre watching it, you're right, you can feel a lot more detached, like we did. Yeah. And it's interesting for me, talking to people, to know the difference of that with a musical, because I don't know if I'd specifically seen that before with one or thought about it, where perhaps there's UK musicals that have a very British history, so we feel a certain way. But then when you're talking to people that don't have any connection to it, they can view it on a lot less sentimentality. Yeah.
- [24:16]
A
I wonder about Blood Brothers for that kind of a reason. As an example, I was thinking on the other end of the total spectrum, I was recently thinking about Titanique and how well it plays to an audience who aren't familiar with the film, if indeed there are people left who haven't seen the Titanic or the general culture.
- [24:34]
B
Because there's a lot of references and points that you get if you're aware of pop culture and things and moments, or they'll go over your head. But it's how many of. How much of that goes over your head that it becomes jokes that you feel involved with?
- [24:50]
A
Yeah, yeah.
- [24:50]
B
So I wondered about when we recently saw it, how many. What would it be like for somebody that's not as aware of pop culture?
- [24:57]
A
Yeah, I thought about this. I thought about this with Death Becomes her as well, because obviously based on a film, and I thought if I was to. And I haven't reviewed that yet, but we've seen it. We saw it in previews in New York on our last trip to Broadway. And I thought, I don't want to praise something and say, like, that's such great writing by the book writer, and come to find out that it's just a beloved line from the film. But then I also wanted to empower the show to stand by itself. And I think, you know, money no object and time no object. The best thing to be able to do is to see something, then go away, look at the source material and then revisit it. And hopefully that's what I'm gonna do with Here We Are this Year, and then I'll have the perfect perspective on how it stood independently and also how it works as an adaptation. But I'm not going to have the luxury of that second lap critically every single time. So I think I feel I have a responsibility to do the homework. And that could be as big as watching the film it's based on reading some of the book. Or it can be as small as. I've started a few plays recently, really valuing the director's notes in the programme. I started to think actually that this should be vital reading for so many plays, because it so shaped my understanding of what it was that they were trying to say. But then it's like, should the play be able to say that independently? I go back and forth on this a lot, but I've decided this year I'm going to really focus on doing the homework. So at some point, you and I are going to have a movie night where we watch the two Bruno El films that Here we are, or I will. You don't have to be involved, but I plan to watch the two films that Here We Are is based upon. And. Yeah. Anyway, we have each read out three resolutions so far. Yes, we have three.
- [26:44]
B
It kind of has ended up that we're basically picking one that each other has written and saying it to each other.
- [26:49]
A
I'm going rogue now because we've fallen into a pattern and is it my turn? Anyway?
- [26:53]
B
It's your turn.
- [26:54]
A
I'm going to fully close my eyes and let the world surprise me. What is this? It's one of mine. There you go.
- [27:02]
B
Okay, but here's the issue, though. What about if we end up doing just three in a row of yours and then three in a row of mine?
- [27:07]
A
I don't think it matters. I say I think you're thinking about it. Let's go. Row much. If anything, let's go wild. So. Okay, I have to speak about this. Anyway, there you go. This says awards show press rooms.
- [27:18]
B
Okay.
- [27:19]
A
Now, these are mostly to do with our theater going and we said we weren't going to do many that were too career focused.
- [27:26]
B
Yeah. Not too focused on us. So that it felt like people watching could also share the same ones or not take it. But also, it's important to say that how we see theatre is slightly different. So there are things. But we also want to show you what, like, personally we're trying to achieve.
- [27:43]
A
Because we both work in the industry. This one is not relatable, but this is something I want to do more of this year because we've been going to theatre awards. We go to the Oliviers, we've been going to the Watson Stage Awards, we.
- [27:58]
B
Went to the Stage Debut Awards, went.
- [28:00]
A
To the Stage Debut Awards, and I kind of end up falling into a different thing at each one. I don't have a consistent version of what I do at a theatre awards show because I've been live tweeting the Waltsam Stage Awards, which is some of the most stressful hours of my life. And we just watched the Oliviers.
- [28:18]
B
Then we were in the press room for the Stage Debut Awards.
- [28:21]
A
And I loved that, particularly with the Stage Debut Awards, because for those, it's a lot of early career performers, it's a lot of people's first nominations, first award wins. And it was really nice getting to chat to Jack Wolfe and Jack Godfrey and Jeevan and so many other brilliant, talented people. Nathan Amzy from Sunset Boulevard. A lot of brilliant, deserving, talented winners, performers and creatives. And I suddenly thought, this is what I want to be doing at More of These types of events. So I'm going to try and stick my neck out a little bit more and say that this is what I want to do. In future for other ceremonies, whether that comes to pass, whether they have the space, that is something that I'm going to try and do. But to make a relatable version of this, maybe people want to go to theatre Awards who have never been before. I think it's worth going to.
- [29:18]
B
Yeah.
- [29:18]
A
If you've never been to the Watson Stage Awards, it's a great and entertaining evening because they have brilliant bespoke performances.
- [29:25]
B
It's also very cool because you just get to see all the people from the industry you watch online.
- [29:30]
A
Yeah.
- [29:31]
B
Like I kind of really enjoyed when we were at the last Watson Stage Awards, just looking like out into the audience and seeing people react going, oh, my gosh, it's ah, it's ah. And it's thinking, that's really cool because I think growing up I always thought it's really rare to see so many theater fans in the same place. And I think to be in a space where there's so many other people that it's just a room full of people that love theater to begin with.
- [29:53]
A
Yeah.
- [29:54]
B
It's because it's very dedicated to be there. So everybody has decided I really want to go and celebrate theatre tonight. And also you just get to see everybody in the industry there. The vibes and the atmosphere is very, very cool.
- [30:07]
A
Yeah. The Oliviers is such a triumphant celebration. And for us, because we spend the whole year working in creating content around and obsessing over the industry, it feels like.
- [30:18]
B
It feels like a culmination of a year.
- [30:20]
A
It feels like an end of year party.
- [30:21]
B
Yeah.
- [30:22]
A
Basically.
- [30:23]
B
Very much.
- [30:23]
A
Do you want to take the next resolution from the bag?
- [30:27]
B
Let's go with this one. One. Oh, it's one of mine.
- [30:29]
A
So that is a long resolution.
- [30:31]
B
So this is actually my.
- [30:33]
A
Similar as your professional one.
- [30:34]
B
This is kind of in my professional one.
- [30:36]
A
Okay.
- [30:36]
B
Which is here. And it is to be consistent, grow theater content and series. So I feel like in the past month I really started to find a. Oh, this is what I'm doing, this is what I'm creating. And I feel I get a lot more creative about things and kind of how we can do content that's similar but complementary, but different. And my biggest thing prior to now has been I'll start something and then I'll think and then it, like life will happen and it won't continue. But also just finding what I want to share and. And talk about and help because I feel like sometimes we'll have top tips and we'll talk about like rush schemes and things like that or these are the places in London to go to. They're very for theater people and they've always been a big champion of that and with different things like that. So this year I just want to focus on kind of just being present more and bringing people along on our theatre journey. Helping people like on here know. Know things that they. That might help. And I have always been a big. You'll know this. I've always been a big fan of things like Broadway.com's theater vlogs and things like that. Where we used to not live in London or anywhere near London. And the only way that I would experience theatre stuff was on social media on YouTube and that was like my theatre fix for the week that me and my mom would sit and watch. And I feel like a lot of the things I know about theatre is because I digested that content. And so my big thing this year is to like really focus on actually giving back and being excited and creating like ongoing things that people can look forward to. So yeah, that's my. My kind of this thing for the year is to do the thing that I've wanted to do for ages and. Yeah. But it's theater related and hopefully people will be excited about that. So. Yeah.
- [32:41]
A
Yeah. Do you want to talk about any specific series that you have in mind or what you've been doing recently on places like Instagram?
- [32:48]
B
Yeah. So one thing I've liked recently is finding out everybody's history with theatre and their feelings of theatre. So I've been asking questions for people to kind of tell their stories. But I actually really want to do that with performers and creators where asking them what's their first western show and sharing people's stories. I really like sharing more pre show dining places. But you can do all theatre related things you can do in London. So I'm hopefully gonna put more of that out. And also a special one of like did you know like facts about these theaters take you along on our journeys short of loggy things.
- [33:28]
A
Yeah.
- [33:28]
B
So big year of trying to build out those things. We'll see.
- [33:32]
A
Yeah, you'll do great. You'll do great. I'm gonna take another one. This is one of yours.
- [33:37]
B
Oh, okay. It's me again.
- [33:39]
A
Switching it up. Oh, okay. This is a good one. To see theatre in a new country. I nearly wrote this down and then I thought that you probably would. I was gonna say specifically in a new European country. But I'm open to further afield travel.
- [33:54]
B
So I have two things I would like to see in a European country and I feel like hopefully that will happen.
- [33:59]
A
Yeah.
- [34:00]
B
But I kept it open because also there's two. There's two parts of the UK that I've not seen theatre in.
- [34:06]
A
Oh, I see. Okay.
- [34:08]
B
So I've not seen. I realized I'd never seen a show in Wales. I'd never seen theatre in Wales and I've never seen theatre in Ireland. In either part of Ireland. I kind of was going to put to see theatre in all parts of the UK and I didn't want to give myself that challenge. But I'd feel really upset about. But a new country because we've never seen theatre in Spain or we've now been to Germany. Germany was the first time for me last year, as was Canada.
- [34:33]
A
Yeah.
- [34:34]
B
But there's Austria's really big for theater and other areas around there.
- [34:40]
A
So I'd never seen a show in Germany. I'd been to Germany twice before.
- [34:43]
B
Yeah.
- [34:44]
A
But I'd never seen. So that was my first time seeing theatre there as well. I mean there's so many places I want to go back to. I want to see theatre in Amsterdam again this year. I want to see theatre in Germany, in Hamburg again this year. But I, Yeah, I would love to do a new European country. Something in the Scandinavias.
- [35:03]
B
Interesting potentially.
- [35:04]
A
I just think we're so lucky in Europe. And it's so unlike a lot of other parts of the world where you get these completely different cultures, these completely different languages in such proximity to each other. And like there's, there's different culture in all continents. But I think it's, it's so different. Spain is another one. They're doing so much exciting theater in Madrid and in parts of Spain.
- [35:32]
B
And the ATG has just announced they bought a whole chain in Spain. So they're really focusing on like Europe to build it. Yeah.
- [35:39]
A
It's taking all my strength not to say the chain in Spain stays mainly in the plane. All my strength. Also earlier when you were talking about theatre in Wales and you said the phrase theatre in Wales so many times, I had this vision of Pinocchio putting on a show after being eaten by monstro and doing theatre in Wales. Cause he's in a whale. I don't. That's where my brain went to at that moment.
- [35:58]
B
But yeah, it's, it's a big focus I think as well as we like I've really enjoyed speaking to different people. In Europe and how many people know in Germany and in the Netherlands and in France, where we can talk and actually be like, oh, no, we understand this and make people aware of in the UK sometimes just how lucky we are.
- [36:19]
A
Yes.
- [36:20]
B
Because I really value that so much more after experiencing theatre in the different countries, though, they have great theatre, but it's a very different amount and quantity of theatre. And actually, how many people in mainland Europe have to fly or plan trips to the UK to get their thicks for theatre?
- [36:37]
A
Yeah. Yeah. Australia is a big one that we've both spoken about as well. I'd love to see theatre in Asia. I think that would be so fascinating. Did we figure out which of us. Did we recently have this conversation? Which of us had seen theatre in more different countries? Because for the most part, it's been together. But.
- [36:56]
B
Well, Spain's a weird one because I technically have. But it was a theatre and education show.
- [37:02]
A
I think that counts.
- [37:03]
B
Yeah. So I kind of have ticked off Spain.
- [37:05]
A
Yeah.
- [37:06]
B
So I feel like we're getting even. But you have Brazil and I have Spain.
- [37:10]
A
Yeah.
- [37:11]
B
So I think. I think we're kind of even.
- [37:14]
A
Yeah.
- [37:14]
B
I. I don't think there's specifically an extra country yet, which is kind of nice, because I feel like, if you're sure, we've seen theatre in a different country to each other, but it's nice that we're kind of growing the amount of countries we've been in at the same time.
- [37:31]
A
Yeah. Yeah. And in terms of weird little statistics, we've both seen six in at least three different countries. Six. The musical.
- [37:42]
B
You've seen it in four.
- [37:43]
A
I've seen it in four, if we're counting Scotland.
- [37:45]
B
Yeah. You've seen it in four, if you count Scotland separately.
- [37:48]
A
And I've seen Wicked on three continents. Four countries, including Brazil and South America, including Toronto and Canada, where we both saw it. So. Would love to add to either of those just for the sake of a fun little Xbox achievement, but for real life, it's me again. It's you again.
- [38:05]
B
So the final two ones are gonna be yours.
- [38:06]
A
Okay.
- [38:07]
B
So this is a big one for me.
- [38:10]
A
It's a big sentence.
- [38:11]
B
My final one is to support more new British musicals, and I've included beam, workshops, etc.
- [38:18]
A
Yeah.
- [38:19]
B
So this is a big thing that I've been a massive champion of, and we both have, and I just want it to continue. I have loved kind of being able, when we've been invited to workshops, to kind of see musicals growing and when there's been readings or showcases or tryouts and different things like that. Like, we went to the stars and True. And you were part of the judging panel.
- [38:45]
A
Yes.
- [38:46]
B
And you've also been Claire with Bean, where you were part of, like, the selection panel for this year's theme. And I think a big thing this year is I don't want to. I want to ensure that the things that are happening we're paying attention to where learning about new composers. Because the past year has been really exciting, where when babies debuted, when 42 balloons debuted, when Kathy and Stella did like, Benjamin Button. So many of these musicals we'd seen prior and we'd seen, like, their development and how they've grown, and we could talk about it and we could champion these composers. And what I don't want to happen is for me to be like, yay, we did that. Cool. And then forget this year about different composers that we haven't been seeing, knowing what's being developed and being aware what fans should be aware of before they happen. Because I really loved that with Babies, where we knew it was amazing. And 42 balloons, and then to see everybody fall in love with that show was incredible. Like Two Strangers to see that from the Kiln to the West End. The West End, it's suddenly becoming this commercial musical, which I don't think anybody expected, but we were like, this is a show, and we could champion it to. To help support it through that phase.
- [39:56]
A
And we and other content creators are well placed to be able to do that. Because, you see, with something like Two Strangers, people discovered it and people fell in love with it, but more people were starting to find it after it closed. In its final weeks, that song started trending on TikTok American Express. Yeah. And so it's like, if we can be part of getting that to as many people as possible beforehand, A, the shows are more successful, but B, the fans don't have that heartbreaking realization of, like, what's this show? I need to go see it. Oh, it closed last week.
- [40:27]
B
Yeah. Like in America, when we went over and maybe Happy ending and to kind of see that show and kind of being like, yes, we can help people be aware of this is a show for you. Because otherwise so many people would not have realized that it was the musical it was. That speaks to so many people. But, yeah, especially in the UK with new composers. And I think this year, especially with Beam. Beam factors this year.
- [40:52]
A
Yeah.
- [40:52]
B
Where so many musicals are going to be presenting themselves and new composers or new pieces from composers that exist.
- [40:59]
A
I think Beam is bigger than ever. This year because of the success of Two Strangers and Operation Mincemeat. Yeah. And so those are both shows that have come from Beam. If you don't know, Beam is a two day musical theatre conference in the uk. It's going to be in Birmingham this year who have really asserted themselves as a great supporter of.
- [41:18]
B
And this is why I feel like I also have to be a big voice because, well, voice. But like I need to be a big supporter and want to do this because Birmingham is kind of the Hippodrome. And Birmingham as a city has said we're going to be the new national home for musical theatre. And as somebody that is from the West Midlands and grew up with Wolverhampton and Birmingham and these theaters to have like my home area be like championing. The thing that I love the most is like this big moment and I want to ensure that I'm going back to like my hometowns and going there and helping to support a local theater. To me growing up succeed at this because this is what we want and then to see musicals from there develop and grow. So yeah.
- [42:08]
A
And I'm so invested in this year's Beam because like you said, I spent that one day. They have dozens of these days, I was only there at one of them, but got to be part of a panel kind of talking through these various like 10 minute pitches from so many talented writers pitching their show, which is this impossibly difficult thing because you can only show a few little bits of music and talk through the plot and try and explain why they believe in it, the work that they have done on it. And then it's the panel's job basically to figure out which would be best placed to be part of this two day conference where they are then showcased to potential producers, investors, theatre makers, collaborators, venues, directors, co writers and so of the ones that I really fell in love with. I don't know yet what's been selected, whether it's the ones, but if I recognize any of the ones that I saw pitched at that pitching day at Beam this year, I'm going to be so like my little Beam babies. And then imagine it goes. Imagine having been at the pre Beam pitching day for Operation Mincemeat when they came in and then seeing what it is now, seeing it going to Broadway.
- [43:17]
B
Well, I think about this in the last Beam because it's every other year.
- [43:20]
A
Yes.
- [43:20]
B
And there's still a lot of shows from that, the first being we ever went to that. I'm excited to see some of those shows finally come to the Stage.
- [43:29]
A
Well, they're just starting to come through now, some of them. Yeah.
- [43:32]
B
So that we can be seen what we'd seen there and go, wow, that's the journey. And I'm just loving to learn more about how the growth of musical theatre and the development of musical theater happens, because also then you can help dispel myths about how it works and see what's working. Support, in a way, just be part of the musical's journey.
- [43:53]
A
Yeah, yeah. Not to labour the point on this too much, but I think an essential part of this conversation is that it's still very difficult to create new British musicals in the uk and to be a musical theatre writer. With us, having spoken about, like, how brilliant British theatre is and how much more prevalent it is here than in a lot of other countries, you would think that it's a great place to be a musical theatre writer. And it's not. It is.
- [44:18]
B
It's easier in the us.
- [44:19]
A
It's deeply challenging. Yeah. To get British musicals off the ground. And that's why we are here to help. I have got another resolution. It's the penultimate one. What does it say? It's one of mine. I still can't read it. It's there. Oh.
- [44:33]
B
See?
- [44:33]
A
A show in one new US state.
- [44:36]
B
Interesting.
- [44:37]
A
Now, as I was writing this, I was thinking about the current political landscape, which is. It's something to think about and it's certainly. I mean, we.
- [44:47]
B
There's definitely things of safety.
- [44:49]
A
Yes. But we have an extraordinary amount of privilege not being from there and we don't have to contend currently. Who knows? But with a lot of the potential realities and the fallout of this administration, which we're trying to be mindful of that. But at the same time, I'm always getting messages and seeing comments from people living in different parts of the US saying, we have fantastic theatre here in dc. Yeah. And someone just messaged me on Bluesky the other day to say, like, you guys need to find a way to get to. I can't remember which state it was, but somewhere that we hadn't been before to come and see the amazing theatre that they have there and original stuff as well, like proper regional shows and not necessarily just touring productions of shows we'd already seen on Broadway, even though I do want to see the shocked Kimberly Akimbo and Parade tours, if we can.
- [45:42]
B
But also, I guess, like, as well, places like Chicago and Seattle, places where shows try out because, like, those theatres that are known for creating the shows, like Atlanta is known for creating Water for Elephants, the Alliance Yeah, yeah. We talk about the big regional theatres in the UK and we're very easy to talk about them and how important they are for big musicals to start. And in the us, I think hearing from Kate and Ashley all about these theatres and that their seasons are really important to watch because they're where a lot of tryouts start. It'd be nice to visit them and see them and kind of be able to go, oh, that's really cool. I now understand what type of space a show starts in there and how it changes and develops and for history as well.
- [46:30]
A
To see a theater where Wicked had its first pre portrait tryout in San Francisco and to go to, I think it's the Old Globe in San Diego is where into the woods started its life, I believe. And like the Pasadena Playhouses of this world. Yeah. We've obviously seen shows in New York State, but we've also been to Connecticut. Goodspeed in Connecticut, which is New Jersey. Amazing. Talk about a space that nurtures new musical development is Goodspeed.
- [47:00]
B
And, yeah, we've done New Jersey to Paper Mill Playhouse, Hickmill and Two River.
- [47:05]
A
Two River Theatre in Red Bank. Yeah, yeah, yeah, yeah. But I think this may be the year of only one. I'm not saying, like Kait said, like three more states or five more states.
- [47:15]
B
And I think for us, it's that tricky thing of how do you build it into a trip.
- [47:19]
A
Yeah.
- [47:20]
B
Because we're obviously being mindful of where we need to be, depending on what's going on in Lithiad's calendar. But it would be really nice to tick off something new.
- [47:29]
A
Yeah, I think that's an achievable goal.
- [47:31]
B
And I will pick out the final one of McKee's room resolutions for the.
- [47:35]
A
Year, the last melon.
- [47:37]
B
I kind of brought this up earlier for you. I did this.
- [47:40]
A
You did. We talked about this in Part one.
- [47:42]
B
Yeah. So Mickey's final resolution is to see more plays.
- [47:46]
A
It is to see more plays, which I'm so embarrassed even to write down because I'm Mickey Jo Theatre, I'm not Mickey Jo Musicicals. And yet, because I tend to try and talk about the things that people are most wanting to hear about, the things that people seem to be clicking on, basically, because that's what I've got to think about now that I do this professionally, it's driven largely by the musicals and by the commercial musicals that. And, you know, the conversation around a lot of plays is not as big, it's not as loud, but there are a lot of people who are still really interested in that conversation. And there's still a conversation to be had. And so I'm trying this year and currently doing very well actually at seeing more of the plays. I caught Oedipus at the Wyndhams just before it closed also because with the Oliviers looming and with us thinking about them, I think we've seen every eligible musical. Just about.
- [48:47]
B
Just about. I think there's a couple that probably are eligible, but it's.
- [48:52]
A
We did certainly the larger ones and the ones more likely to be nominated. But we've really not done well with the plays.
- [48:59]
B
No. And we don't do every year because there's just so many. And I think because so many theaters are eligible.
- [49:06]
A
Yeah.
- [49:06]
B
But aren't just for commercial theatres. And then those theaters have multiple spaces. When you talk about like the national has free spaces.
- [49:13]
A
Yeah. You've got the Donma, you've got the Almeida. All of this stuff is eligible on the side. All over the West End. And we're getting a bigger turnover of plays than musicals in the West End at the moment. Far more.
- [49:25]
B
Because plays don't run as long. They'll run for about a month. You have such a limited window. If we're away for part of that, it suddenly becomes really difficult, especially if it sells well.
- [49:34]
A
There are some plays that have come and gone while we've been out of the country.
- [49:39]
B
So it's tricky and it is interesting what you say about like. It's also interesting how different the conversation becomes about a play other than say a show like Stereophonic. You kind of go, what is the future life of that of a play? Often it's very different to a musical where a musical you'll be talking about transferring to the other country and going on a tour, doing different things. Whereas for plays often, once they've had their kind of prestige run.
- [50:07]
A
Yeah.
- [50:07]
B
Then it'll actually be massive amounts of non replica productions around the country. That is normally what happens the year after a Tony Award winning play happens. It'll come to the uk, but it's often not the same production. It'll be a completely different one. It'll be a new debut. So the writing. It's interesting how different the discussion about a play is compared to a musical.
- [50:28]
A
Yeah, yeah. But the way that I'm actually going to enact this is try and see more at the Royal Court, more at the Bush, more at the Almeida, more at the Donmar if I can, more at the national and the rsc, which we already spoke about in Part one. But I Don't think it's realistic, especially with travel as well, to assume I'll be able to see everything at those venues.
- [50:48]
B
No.
- [50:49]
A
And it's a skill, because if you were to ask me about musicals, I'd be able to tell you, these are the ones I think are going to be of quality this year. These are the more commercially driven, and these are the ones it's not as vital for me to see with plays. It's hard to say, like, what's going to be the good thing at the Almeida. I couldn't have told you last year that the biggest successes at the Almeida were going to be the biggest successes because they weren't the most obvious titles or the most obvious casts. And the same with the Donmore.
- [51:14]
B
Yeah. I definitely feel like it will be interesting to see how your relationship with players and how you can cover plays as well, because unfortunately, in many ways, there are just less people that are looking for play content, but actually in podcast form, potentially more, because it's. It's a very different type of side to theatre.
- [51:38]
A
And I'm thinking, bill didn't. They will come. I'm thinking if I bring that passion, that enthusiasm, maybe people will say, oh, I will go and see this play. I think Stereophonic is a great gateway to this year where I'm gonna be, because I've seen. We've both seen it already on Broadway and loved it. I am gonna be trying so hard to convince people who don't like plays, who have never seen a play that this is the perfect gateway play. It's accessible, it is not complex, it is not historic language. It features a lot of music. Yes, it's three hours long, but it's worth it, I am telling you. And a lot of those same people who say they don't like plays and they don't go to plays probably watch a lot of compelling, like, drama series and Netflix series. And it's. It's.
- [52:24]
B
It's actually a lot closer to films and TV series compared to musicals, where it's Is a different art form. Really?
- [52:31]
A
Yeah. Yeah. So that is the last goal for the year. Have you thought of any more? As we've been talking through all of these, are you pretty happy with the. Do we have enough to be working on?
- [52:43]
B
I think those are the main. The main ones. I feel like we'll get an idea. There's a lot of this shift. We don't know what theaters are producing, and that's really. It was really hard actually coming up with them when I felt like we have such A spotty knowledge of what's coming. Yeah. So it's trying to break down a period of time of being able to do things and thinking, actually, we don't really know what it's gonna look like. True. But no, I don't think so. I think just maybe pushing myself to see more plays is a thing, because I do feel like with plays, it feels like a kind of. Oh, sure. At some point. But actually there's a preference to musicals or to Will. What can come from that? I think that's annoyingly. Sometimes in the world of what we do, you end up seeing where people are getting excited about it and it kind of stops you from seeing more. But then there's a show like Cyrano. But I'm so glad we saw last year and we saw it again in London because it was a revelation and I would have really regretted not seeing it.
- [53:50]
A
That's a really good point, because I think what I'm really trying to do is take my Edinburgh Fringe energy and bring it to the rest of my theatre career.
- [53:58]
B
Because at Edinburgh Fringe, we see so many plays.
- [54:02]
A
Yeah. And it takes a lot less for me to go and see something. It takes an inkling of, like, and I'll give more stuff a chance based on one person said they enjoyed it. Or there's that one little detail about it that makes me think, oh, I'm intrigued by that concept. I'm intrigued by that framing. I'm intrigued by what this is trying to do, the nature of what this is talking about.
- [54:21]
B
I feel like that with the new musical side, where there's these new musical bites and these little previews that are happening at places like the Other palace and the energy. If we were at Fringe, if that was happening, I would be running to those things as soon as possible. But when it comes to London and traveling in and, like, planning it with evenings of if is that period of time great with a schedule but knowing, like, oh, there's been so many musicals that have shown more and actually I would have loved to have known more about these musicals. That's kind of a. I'm going to. I'm going to try and think about it more. I think with 2025, even if I learned that scheduling and with what we have to do, that's not healthy.
- [55:01]
A
Yeah.
- [55:02]
B
And there's a good balance. I want to go into it actually, like thinking about the choices rather than just letting things happen.
- [55:10]
A
Yeah. I think we'll find that balance. Or we won't and we'll still be talking about it. This time next year with our 2026 resolutions. In any case, those have been our 2025 theatre resolutions. I hope that you enjoyed listening to those. Make sure to comment with your own theatre resolutions. If this has inspired you to think of any goals that you have with going to the theatre this year. Maybe you'll inspire other people, maybe you'll inspire us with some of your ideas. Make sure to follow us both on social media so you can see how well we keep up with those plans. You can find us both on Instagram, you can find us both on YouTube where you can enjoy this set of resolutions in two different parts on both of our YouTube channels. And as always, I hope that everyone is staying safe and that you have a stagey day.
- [55:54]
B
Bye bye.
- [55:56]
A
For 10 more seconds, I'm Micky Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.