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why has BURLESQUE been cancelled?! | the truth behind the show's postponement, cancellation & drama
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Miki Jo
Well, life's not fair. Sometimes it's not even fabulous. What it is seemingly is indefinitely postponed. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to those of you listening to this theatre news update on podcast platforms. My name is Miki Jo and I am obsessed with all things theatre as a content creator and a theatre critic here on social media. And today I am here before you, Sequinclad, in order to attempt to answer the question Wagon Wheel what in Cher's name is going on with Burlesque? A show which has for the duration of its lifetime been surrounded by a whirlwind of rumors about backstage chaos, but which up to this point have yet to really catch up to it. Which is to say that during the runs that it's had so far, all of the alleged drama has yet to really spill onto the stage until it finally did earlier this week. Now, when Burlesque concluded its limited run at the Savoy Theatre in the West End, they collectively said, you haven't seen the last of us. And soon afterwards plans were announced for a concurrent London return and UK tour, which at the time I characterized as being perhaps a little over ambitious. Sure enough, it has just been announced that the mooted West End run at a newly built Theatre the Arts at Marble Arch has been indefinitely postponed. In other words, cancelled. Simultaneously, the show's first UK tour date in Woking has also been cancelled, which is personally very disappointing because yours truly was due to see it on press night there an invitation which I'm sure would have been rescinded by the powers that be. In any case. And while I'm on that subject, in addition to all of the reporting that I will be relaying to you today from various other outlets and various statements that have been made, I want to say that everything else that I am stating and implying and letting you know about this production is all entirely alleged. Which isn't to say that I haven't been hearing the same thing from literally dozens of industry professionals for years now. It is to say I don't wish to become embroiled in a frivolous trigger happy lawsuit, especially when I'm trying to pay for a wedding. Anyhow, the sudden cancellation of both the first UK tour date and the upcoming London run has left theatre goers, understandably with many questions and wondering whether we're ever going to see Burlesque again. And what is really going on behind the scenes? What continues to plague this production with uncertainty even as they find themselves now working on the third iteration of the show led by a third different creative team with a third different director in about as many years. So allegedly, here is everything I know about what's going on with with Burlesque. Okay, so I am going to talk about the news from yesterday as well as the statements that have been released, the various articles that have been written subsequently, the things that have been said on social media. Share with me but in order to fully illustrate the situation as it is evolving, I think we need to back up just a little bit as far Even as the 2010 film upon which this musical is based, Burlesque. Now, a few months ago, Cher went on Kristen Bellendack Shepherd's podcast and spoke spoke about the filming for Burlesque in which she and Kristen both appeared. And she was quoted as saying it could have been like a really lovely experience if it weren't for you know who. And there was some commentary about a challenging relationship, the toxicity of which was affecting the film set. Now, people were very quick to speculate in the comments section about a feud between the film's leading ladies, Cher and Christina Aguilera, because of course, they were. Earlier this year, though, on January 5, 2026, Eric Tedisco wrote a piece commenting on this very conversation for the New York he wrote. While the two women didn't elaborate, Shepherd, 51, decided to give some backstory. Why does it matter that he's 51 anyway? I can say not being involved in it is. There was a romantic relationship happening for people that were very high above and that was playing out on set quite frequently and dramatically and uniquely to anyone that has been in show business, shepherd explained. It goes on to quote, well, there was another thing that I cannot mention, but I can't mention it, cher added. The pop star also claimed that a male exec said at the time, I'm cutting that song out because I don't want Cher to ruin my movie. More on that in just a moment. Meanwhile, while no fingers are specifically pointed a little later in the article, it states, around the time of the film's release, reports claimed that Antin's romantic relationship with Screen Gems president Clint Culpepper created tension on the set. The pair, who were dating for 20 years at the time, allegedly had jaw dropping clashes in front of the cast and crew. According to the Hollywood Reporter. During one incident, Culpepper reportedly poured an iced tea over Antin's head, forcing Anton to recoil backwards into a rack of clothes. A source on the project claimed Anton and Culpepper reportedly split close to when the movie came out. Despite this, though, it notes that Burlesque was a big success, grossing nearly $100 million at the worldwide box office and winning the Golden Globe award for Best Original Song for Cher's performance of youf Haven't Seen the Last of Me. Remember that as well. Then flash forwards more than a decade. It is 2024 and burlesque, the musical, hugely anticipated by audience it seems based on the initial box office sales, is arriving on stage for its world premiere production in Manchester. It had been announced that the production, written and produced by the writer and director of the film, Steve Antin, retaining and reworking many of the songs from the film soundtrack, completed with additional material by Todrick hall and Jess Foley, who were both also engaged to appear in the production. Now at this time it was a limited run at Manchester Opera House, directed by Nick Winston and a full creative team working with him. It then did a limited run in Glasgow, it went back to Manchester. None of these runs were more than about four weeks in length. Jackie Burns at the time was starring as Tess, the role created on screen by Cher. And after the financial success of the show's out of town performances, it was announced that they would run in the West End. Now, in between the regional world premiere production and the West End, many creative changes took place. Director Nick Winston departed the production in what seemed to be a fairly dramatic exit, along with, as far as I can remember, almost the entirety of his creative team. With the new West End production directed and choreographed by cast member and co composer Todrick hall, wearing by this point a great many hats, he would later give an interview clarifying that Christopher Catelli, the director and choreographer of Death Becomes her on Broadway as well as Schmigadoon and the upcoming revival of the Sound of Music, had been engaged to direct and choreograph the West End run. But a change in their scheduling made it impossible. This potentially due to the fact that Burlesque had a certain London theatre booked and then shifted to a different one. It had been rumoured that they had approached the London Colosseum and were in conversation with them. There was of Balesk potentially going to the Peacock before they eventually opened at the Savoy, whereupon the production was once again engulfed by reports of backstage drama and last minute chaos, as well as a documented Equity investigation into several aspects of the show worth pointing out as well. By this point a producer had also left the company that were bringing Burlesque to the stage, along with Steve Antin. And it was around this time, once substantial headlines were beginning to emerge about whatever was going on backstage at Burlesque, that I commented on the situation for the very first time. And based on everything I had been hearing at this point for months, I cautioned people against jumping to the most obvious conclusion given the reputations of everybody involved in the project. Because immediately I was already seeing the easy scapegoating of Todrick hall, by this time. Actor, writer, director, choreographer, very easy. Entirely too easy in fact, to lay the blame at his feet. During the run of the show, I met Todrick briefly in the street. I believe he also shared personal statements about how the online discourse had been affecting him, as he tends to do. I sat down with him for an interview discussing Burlesque as well as the new musical that he was subsequently developing a little while after the show had closed, and I don't know whether I ever said this publicly, but after willing on multiple occasions people to stop lazily accusing Todrick hall of being at the epicenter of all of this chaos, it occurred to me that he would be exonerated of all of this soon enough were Burlesque to attempt to open another production and once again be surrounded by drama and problems and before too long that is exactly what has happened. Now. In the meantime, there was meant to be a run of the show in Japan that got quietly cancelled in favour of the UK return plans, which were a London production at a new purpose built venue which it transpired would host a run of Heather's before Burlesque was due to open there, as well as a concurrent UK tour. Now, Burlesque wouldn't have been the first show to be in the West End and on tour simultaneously, however, it would have been among the first to try and launch the two productions basically at the same time and yet again with a different creative team because Todrick hall and many of the creatives who were working with him had by this point departed the production. Todrick to return to the US to continue working on his new musical Midnight, which is going to be seen Off Broadway later this year. Also in past as new was Jess Folly, who had been another of the show's most consistent cast members thus far and is now performing as Eponine in Les Miserables in the West End. Orfeh played the Cher role in London but wasn't staying with the production, meaning they not only had to get an entirely new version of the show up on its feet in two different places at the same time, they also had to cast it again twice. And in the face of these significant logistical challenges as well as rumored financial strain, the powers that be this time around, it would seem have not yet been able to show us how they Burlesque. Which brings us to the news that was announced.
- [11:03]
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- [11:17]
Miki Jo
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Miki Jo
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- [11:57]
Miki Jo
So the London postponement may be the bigger news item here, but I'm going to begin with the tour for reasons that will become apparent and the tour was due to open first. The London production was only actually due to go into rehearsals around the same time that the tour was playing at its first venue, which was always an optimistic piece of scheduling. You begin to understand why this was never necessarily going to be easy anyway, Watson Stage reported Burlesque Musical postpones tour opening the show will now open its tour next month, which is to say August 2026. At least that's the plan. Currently, a change of dates has been confirmed for the first UK tour of Burlesque the Musical based on the 2010 film written and directed by Stephen Antin. Originally slated to open at the new Victoria Theatre in Woking on 25 July before touring to 24 ven across the UK during 2026 and 2027. It has now been confirmed that the show will instead open at sunderland Empire on 6 August, which was its second scheduled tour date. A tour stop at Woking Theatre will take place from the 3rd to the 7th of November 2026. So anyone who was eager to see the show in Woking, should the tour be up and running by the first week of November, you will hopefully have the chance to see it then. The production has stated the move is in order to give our creative team the time needed to deliver the spectacular production of Burlesque. Audiences adore. The producers are Christina Aguilera, Adam Paulden and Jason Haig. Ellery, Stephen Antin, Clint Culpepper. Those names again and in fine company with Toby Brewer serving as Associate producer. They said in a statement this afternoon we have confirmed that the tour is fully financed and on a secure footing, as verified by third parties, allowing the company to focus entirely on delivering the highest quality possible production for audiences nationwide. You may wonder why they are putting so fine a point on that and it's because there has been significant speculation about the finances of this production and the rumors, again, alleged hearsay whatever it may be, have been that the production is behind on various payments and as a result the set had not been delivered. Now I have reason to believe that the production has to some extent arrived at Woking Theatre this week, where it will not play to audiences. The cast have moved into their dressing rooms and are rehearsing on the stage. But that still stage is not adorned with a set, and even if it were, we still have no idea what kind of a set this is going to be because yet again, different reinvented production to the previous iteration this time around. Directed by Raki Plouze, with an interesting difference because producer Stephen Antin, rumored to have been heavily creatively involved with the previous versions of the show on stage, is now credited as producer, writer and creative director, while his sister Robin Antin is one of the show's choreographers. Now both had been involved in the show since Workshop Stages, but this is the first time that they are officially being given those titles. Meanwhile, the report on this story from what's On Stage editor Alex Wood goes on to say Last week the touring branch of the Broadcasting, Entertainment, Communications and Theatre Union published an Instagram story asking for any members involved in the production to get in touch asap. A source speaking to what's onstage earlier this week said of the Woking everyone's still very much in the dark, including the crew and venue staff. No trailers have arrived with set so no fit up has happened in the first venue. Some venue casuals have had shifts cancelled as a result with payment, director and cast are rehearsing on an empty stage and if we are to take the statement from the production utterly at its word, which there seems evidence that we ought not to, you have to wonder how we're supposed to interpret the idea of an entire venue being cancelled for a tour at the start of a tour on the basis of readying the best possible creative production. Combined with the news that the set simply hasn't arrived. It's hard to believe that this is all about rehearsal time and not in some way about financial challenges and paying for set, paying for transportation, whatever it may be. Speaking to the stage newspaper earlier this year, Todrick hall disclosed that he was still awaiting payment of a life changing sum of money and that his creative DNA was still very present in the new production. Meanwhile, 22 hours ago on theatreboard.com, a West End theatre fan forum where I am incredibly popular, one user commented, I work at the new Victoria in Woking. The company have been in rehearsing on an empty stage for the past few days. They're due to continue rehearsing on stage with no set, lights or sound. There isn't a lighting department. We got introduced to the new production manager today. He is the fourth one we've had meetings with from overhearing. They are cancelling Sunderland. We had crew waiting for the load in last week and nobody from Burlesque contacted us to say it wasn't happening. So there were 18 people sitting around for most of the day. We left at 4 and all went to the pub. And that certainly is as of yet unofficial commentary. If you are a ticket holder for Sunderland then you know, stay in line, see what happens. I wouldn't necessarily book the babysitter now I tell you all of that news first deliberately, because I think it provides important context for this other piece of news that came out at almost the same time about the cancellation, sorry, postponement of the London run back on WatsonStage.com the story is as follows. Burlesque the Musical has postponed its London run. The show had been due to run at the new 550 seat arts at Marble Arch following two engagements in Manchester and a season in Glasgow as well as a sold out limited season at the Savoy Theatre in 2025. Previews were due to begin on Saturday 12th September 2026, but it has now been confirmed that the show will not open at the Arts at Marble Arch with new venue and 2027 dates to be confirmed. In a statement yet another the producers said this is absolutely a postponement, not a cancellation. We are already exploring opportunities for a major Lond 2027 and look forward to announcing our future West End home in due course, thereby telling us that if and when the show does come back, it's not going to be at the Arts at Marble Arch. Intriguing to know why, because that venue, a newly built temporary one which is going to exist at least through 2027, can't exactly be inundated with bookings. In fact, they are now going to be presumably in the difficult position of trying to line up a new tenant to begin performances as early as September. They go on to say this is a strategic decision designed to ensure the production to London exactly as we want it to with all the fabulosity. Is that a word? Not the point? Concert like experiential quality, sound design and razzle dazzle that our audiences deserve. I love that all of those words are like flashy campy buzzwords. Fabulosity concert like experiential quality, razzle dazzle and sound design as the conspicuous fourth one. Anyway, that is their story and they are sticking to it. And I do want to read you some of the official press release release that emerged around the same time. And if awards could be given to theatrical PRs for sheer audacity and unapologetic spin, then I genuinely think one should be handed to the brilliant Kevin Wilson for trying to frame this in a positive light. We've seen this before with closing notices. They try and find the positive, they try and make it but it's going on tour or but we're going to go to London. And then sometimes they never do or but it's gonna be filmed. And given that the news was indefinite London postponement and first tour stop cancellation, let me read you the headline that we went with here. With almost 90,000 tickets sold, the musical celebrates UK tour launch as London return moves to 2027, truly burying the lead there, but with spectacular style. The producers of Burlesque the Musical are delighted to confirm that the Show's highly anticipated UK tour will officially leave launch this summer with almost 90,000 tickets already sold and almost £4 million in advance box office following final technical preparations, the production will now open officially in sunderland before visiting 24 venues across the United Kingdom to give our creative team the time needed to deliver the spectacular production of the musical audiences adore. Our planned opening performances in Woking will move to the 3rd to 7th of November as we've already heard. Now this is interesting and international theatre fans, it's about to be your problem as well. Well, because the UK tour marks the beginning of an exciting new global chapter for the musical, with additional international productions already in the pipeline, including Australia, together with Germany, Austria and Switzerland in Europe, with further international announcements expected in the coming months. The future of burlesque has never been brighter and we look forward to sharing the next stage of that journey with audiences around the world. Apologies if I chuckled during the that it's allergies. The producers have confirmed that the tour is fully financed and on a secure footing. We've heard this already. The producers have also confirmed that Burlesque the Musical's planned London engagement will now take place in 2027, followed by the same statement that we already heard reported in what's On Stage. The producers are proud supporters and investors in the Arts at Marble Arch, powered by Todaytix, having invested a substantial sum in its development, which is fascinating. So they paid to help make that theater happen in the middle of a roundabout, a theater where you can hear traffic noise while you're sat inside, currently listening to Heather's and yet the production isn't going to play there even if it returns in 2027. Is that because now that it's open, they've decided that the Arts at Marble Arch isn't fit for the show, that it's not going to work there for some technical reason or because of said traffic noise and lack of exterior glamour, it's not going to work there there for what do they call it? Their experiential factor? Or has there been some kind of a strain in the relationship between production and venue? This is the only other possibility to my mind. So that is the current position for Burlesque a UK tour still in rehearsals and scheduled to begin performances in a couple of weeks in Sunderland, and a London production that may possibly return next year, but not at the venue where it was originally stated that it would. Meanwhile, what does all of this mean for the show and its apparently very bright future now,
- [21:56]
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- [22:26]
Miki Jo
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Miki Jo
Wherever you are, that's where BetterHelp begins. Visit betterhelp.comrandompodcast to get started. Pay Testimonials Results may vary. So before I cautiously and with very deliberate language tell you what I think about all of this, here are a few more details that it feels pertinent to highlight in the Variety reporting on all of this, which shares much of the same information and statements that we've already heard by KJ Yosman. It's also noted a little further down in the article that a European tour had been planned for next year. Notice the past tense. Meanwhile, the Stage newspaper reports that cast and crew working on Burlesque the Musical, which has postponed two runs of performances two days before the tour was set to open, are being supported through issues including financial difficulty by trade unions. Freelancers will miss out on months of expected income, beckdo head Philippa Childs said, declaring she was extremely disappointed by the news that the musical had delayed its London run and the first week of its tour. Childs said the producers of Burlesque have indicated they will try to provide alternative work where possible. It's unclear as to how because from what I can tell, the only production being produced on stage by the majority of these producers is burlesque. And while other theatrical producers historically attempt to cover losses on certain projects with the successes of others, you begin to understand why a very successful, sold out, but very expensive London run of burlesque needed to be followed by subsequent ventures. Why they tried to take it to Japan, why they tried to tour it and bring it back to London at the same time. It did well with audiences, it has sold well consistently, but that hadn't necessarily paid for everything. And since they are only the producers of burlesque, the only thing that they can do is keep producing burlesque to try and raise more money to pay for the burlesque that already happened. Optimistically, Childs went on to say, while the start of the UK tour of Burlesque has been delayed, it is reassuring that the production looks set to continue. And I'm glad somebody is reassured by this. We are in contact with the production company and we will continue to support members as the situation develops, as I expect it shall. Meanwhile, Equity confirmed to the stage it was supporting performers and stage managers impacted by the postponed shows. The stage understands that they are being supported on a number of issues, including with their contracts and terms and conditions. And, you know, it's one thing for the cast members and the crew members still in rehearsals on an empty stage in Woking, it's quite another for the cast who were about to begin rehearsals for the London run, who presumably have cleared their calendars and turned down other projects and opportunities in anticipation of months of work in the West End, only for that to immediately disappear. Everything else in the article either reaffirms Equity support or rehashes the statements that we've already heard. And while I seem to have begun touching on it already, let's talk about out my interpretation of all of this and what this means for the show and the tour and forthcoming productions and alleged international productions moving forwards, because it is beginning to feel not unlike a Bialystock and Bloom production at this point. I hope that Todrick hall, after so many accused him of being the problem at the epicenter of this show, is now feeling thoroughly vindicated, given that he has departed the production and the drama has not only continued but intensified. I also hope that the prolonged nature of this and the sheer lack of individuals who have been retained from one production to the next including cast members who didn't stay after the first run. That is a red flag in and of itself, as well as creative team members who are no longer linked to the show, makes it incredibly clear to you who actually has been consistently involved with this production and at whose feet we ought to be laying the blame. Again, I'm not about to spell it out for you because this jacket is not courtroom. However, I think it's becoming fairly obvious and I'm going to remind you of that anecdote earlier of Cher talking about a man trying to get that song removed from the film because one of the more minor points of drama when the show began previews at the Savoy Theatre was the unexpected removal of the song you haven't seen the Last of Me. The very same song, which I told you to remember earlier, won the film, its most major award, its only Golden Globe win, which I'm now thinking may have been some kind of a point of contention because early previews at the Savoy it was cut and audiences weren't the only people who noticed. Composer of that song and prolific Academy Award nominee Diane Warren took to Instagram to say so it appears that Burlesque is no longer an adaptation and more lightly inspired by the movie. Based on what I've been told by multiple attendees, the cast who didn't move from Manchester with the show have had a very lucky assistant escape, which was many cast members. For what it's worth cutting, you haven't seen the Last of Me, though these reviews are going to be very telling. And underneath that post in the comments, when somebody asked who made this awful choice, Diane replied, the same guy who hated it and tried to take it out of the movie. Steve Antin. Her words, not mine. I forgot to thank him when I won the Golden Globe for it. Tongue out emoji. Tongue out emoji. From what I can tell, this particular post and its comments have been removed from Diane Warren's social media and can't quickly be unearthed in a Google search. However, Little Mickey Jo Theatre retains interesting screenshots like he's living in Grey Gardens, and for that you are welcome. I digitally hoard so you don't have to, but that little nugget of trivia, to my mind, draws a fairly clear direct line from the problems on set when creating the film to the problems that continue to affect the production now. And your best guess at who is responsible for all of this is the same name who has been attached to Burlesque every step of the way, whose creative titles within the show increase as Its ability to even open on stage, diminishing finishes. And that's where this has all really come to a head. Because they did well to narrowly avoid utter carnage in the West End, if reports of backstage drama are to be believed. Because the show, once it opened, got some dire reviews. It got some great ones. It got five stars in the Guardian, it sold incredibly well during this time. I went to see the show on its opening night performance and I was thoroughly entertained. I had my misgivings about its creative integrity, sure, as well as the extent to a which it really stood up to the film on which it was based. However, all of that rumoured backstage chaos never really made its way on stage. They managed to pull the thing off with what felt at the time like an ungodly amount of luck, luck which it stands to reason would have to run out sooner or later. And it appears that that is exactly what's happened. Because whatever the reasons may be, burlesque as a musical has demonstrably found itself in a position which is irretrievably overextended. And the solution to which is not to announce all of these international productions and an increase in the show's already lofty ambition. All of the press that now surrounds it, all of the conversation that is happening on social media, the statements that they have shared, the comments that they have turned off, all of this is hugely detrimental to the show's ongoing reputation. It certainly isn't going to sell them a whole bunch of tickets for the tour dates, the 24 venues that they're visiting. And in a post Covid landscape, two of the things that audience audiences really hate are uncertainty and cancellation. We have been there before. No one wants to go through the laborious process of getting tickets refunded. No one wants to spend money on something that may not even open in the first place. So it's going to be hugely interesting to see as and when the burlesque tour actually gets on its feet. Meanwhile, you might be expecting me to sit here and say to you, I don't think that the West End production is actually going to happen in 2027. But knowing these producers, it seems almost definite that it will. And while there has for some time been a minor crisis, when to it comes comes to the availability of theaters in London, there are several new venues being built over the next few years, and unless venue operators and owners, in light of all of this bad press, in light of everything that is being alleged financially draw a line in the sand and refuse to collaborate with Burlesque, I dare say they will find themselves a London home next year. By which point, who knows, it may be Burlesque 4.0 with their fourth new director. Anything is possible with this show. For now, I'm not going to caution you against seeing it. If it actually does start performances in Sunderland at the beginning of August August and I found myself anywhere near Sunderland, I would absolutely be buying a ticket to go and see Burlesque because morbid curiosity is through the roof right now and all of this backstage drama, as it has done previously, does nothing to take away from the talent of everybody involved with production on stage. That is why, shocked as I was to receive so early an invitation, I had booked in to review the show while it was in Woking and I will continue to attempt to see it as soon as possible visible and let you know exactly what burlesque 3.0 looks like. For now though, that is everything that we currently know about the show allegedly. But it does very much feel like one of those stories and situations that is going to continue to develop. So stay tuned for updates. A part of me wanted to begin this one by saying close enough. Welcome back Bad Cinderella. At what point did they just rename themselves Bad Burlesque and have done with it? Oh dear. Well until they do, that's the situation. Let me know all of your thoughts and feelings about this down below, as well as anything else that you may have heard. Feel free to share it in the comments section. In the meantime, thank you so much for listening to this Theatre News update. I have been Mickey Jo and I particularly want to address this today to any of the cast or crew currently working on or who are due to be working on or who have until recently been working on Burlesque the Musical in any of its guises. I hope that all of you in particular are staying safe, staying fiscally solvent 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.
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- [33:37]
Miki Jo
Acast powers
- [33:38]
Bilt/Paylocity Advertiser
the world's best podcasts.
- [33:41]
Miki Jo
Here's a show that we recommend.
- [33:46]
Jameela Jamil
What if you laughed all through your commute? Or if you heard the funniest story while at the gym? Well, now you can I'm Jameda Jamil and guest on my new podcast, Wrong Time Turns. Share their most mortifying and hilarious disaster stories. I'm talking people like Mae Martin, Bob the Drag Queen, Catherine Ryan, Jake Johnson, Margaret Cho, Simon Pegg, Penn Badgley, and so many more. So listen wherever you get your podcast. Wrong Turns where dignity goes to die
- [34:16]
Miki Jo
Acast helps creators launch, grow and monetize their podcasts everywhere. Acast.com.