Why is Trisha Paytas doing BEETLEJUICE?! | The industry problems behind the Broadway stunt casting

Summary

Podcast Summary: MickeyJoTheatre — “Why is Trisha Paytas doing BEETLEJUICE?! | The industry problems behind the Broadway stunt casting”

Host: Mickey Jo (MickeyJoTheatre)
Episode Date: October 10, 2025

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Episode Overview

This episode delves into the surprising and much-discussed casting of Trisha Paytas—a controversial social media personality—as Maxine Dean in the national tour production of Beetlejuice during its limited run on Broadway. Mickey Jo breaks down the implications of this stunt casting, examines why producers are making such choices in the current Broadway landscape, and explores the ethical and economic dilemmas facing the industry.

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Key Discussion Points & Insights

1. The Announcement & Immediate Reactions

• Trisha Paytas Joins Beetlejuice Broadway Tour
  • Mickey Jo opens by repeatedly stating, “Trisha Paytas is joining the Broadway Company of Beetlejuice,” reflecting his ongoing disbelief (01:38).
  • He outlines the nature of the production—a touring company playing a short, “scarcity-release” run at the Palace Theatre as a growing Broadway model (03:00).
  • Trisha’s casting as “stunt casting” for box-office security: “To make sure that they really do [sell tickets], we have a little bit of stunt casting involved in the show as well, in the form of Trisha Paytas.” (03:51)

2. Who Is Trisha Paytas in Beetlejuice?

• Her Role and Background
  • Trisha will be playing Maxine Dean, a minor comedic character who appears in one scene and doesn’t sing solo (06:50).
  • Her engagement is three weeks only: November 4–23, 2025 (07:10).
  • Trisha’s recent history includes a sold-out one-woman show at the St. James Theatre, emphasizing her fan appeal rather than musical prowess:

    “She is not an extraordinarily gifted singer…but also, before we get too upset…not playing a singing role in the show.” (05:15)

• Trisha’s Online Influence
  • Noted for her “effervescent personality,” Trisha’s huge social reach (over 20 million fans on YouTube) is a driving factor.
  • Producers seem focused on ticket sales over traditional casting credentials.

3. The Broadway “Tour Stop” Model & Ticket Strategy

• Touring Company on Broadway
  • Mickey Jo explains how touring productions now do limited Broadway runs to create urgency and maximize ticket sales (03:24).
  • Trisha’s prior performance data foreshadowed this choice:

    “Evidently she can sell tickets…producers will have noticed that, and clearly they have.” (04:35)

• Comparisons to Other “Star” Castings
  • Charli D’Amelio in & Juliet cited as another example; but crucial difference: Charli is a trained dancer, while Trisha is not classically trained (05:00).
  • Trisha’s role requires little technical skill, making her a “safe” stunt cast.

4. Is This Unprecedented? The History of Cameos and Stunt Casting

• Historical Context
  • Celebrity and charity cameos are not new—mentions of walk-on roles for Make-a-Wish children, charity stunts in the West End, and social media personalities like Kim Hale in Chicago (09:20).
  • The cameo is a limited, non-impactful role rather than principal casting.
• “Did Beetlejuice Need To Do This?”
  • The show’s checkered financial history (never recouped on original runs); current Broadway market makes selling out challenging even for so-called “cult hits” (11:00).
  • Beetlejuice benefits from social media buzz, but that doesn’t always translate to real-life box office receipts in New York (12:54).

5. Morality, Industry Equity, and Stunt Casting Fallout

• Is Trisha “taking” another actor’s job?
  • Clarifies that the regular track performer, Sharon Sye, will shift roles temporarily and not lose her job or pay (15:54).
  • Mickey Jo:

    “I don’t think we necessarily need to be lamenting for the losses of this Broadway actor who is going to continue to be in the show every single night…” (16:40)

  • Far worse has happened before, where contracted performers are paid out so a celebrity can briefly take over.
• Pay Disparities and Touring Cast Contracts
  • Raises labor concerns: Touring casts might not be paid standard Broadway rates during these “tour stop” stints, even as social media stars pull higher fees (18:23).
  • Rob McClure (original Beetlejuice Broadway cast) recently aired similar concerns regarding contract disparities.

  • “…Trisha Paytas is going to be getting paid a significantly higher wage…and it ignites a really difficult conversation about who deserves to be getting paid more in this ecosystem…” (19:00)

• Moral Outrage & Selective Boycotts
  • Connects to discourse around Kristin Chenoweth’s controversies and the musical The Queen of Versailles—public judgment seems inconsistent based on who the celebrity is (19:58).

6. The Broader Impact: Broadway’s Future and Marketing Tactics

• The Rise of the “Broadway Cameo”
  • Is this becoming an intentional marketing tactic? Cites cameo tradition in Gutenberg! and Titanique, which provided “buzzy social media moments” (21:55).
  • The key difference: Trisha’s casting is marketed from the outset, not a surprise.
• Will This Spread?
  • Questions if UK producers may follow suit (Gemma Collins as a UK equivalent?) and whether other shows will embrace influencer/cameo casting in response to financial pressures. (24:58)
• Is it actually harmful?
  • For this instance, the risk is minimal since Trisha’s commitment is limited and her role is not central:

    “I think she has a big enough personality and is charismatic enough that she can probably land the few moments of dialogue that it sounds like she has.” (24:02)

  • The danger lies in producers overrelying on “star” moments to the detriment of talent and ensemble-driven theater.

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Notable Quotes & Memorable Moments

• On disbelief and Broadway’s oddity:

  “I say it three times, not as a reference to the show, but because I’m still processing this information in real time. Oh my God.” (01:38)

• On Trisha’s qualifications (or lack thereof):

  “She is not an extraordinarily gifted singer…but also, before we get too upset about it, not playing a singing role in the show.” (05:15)

• On industry pay disparity:

  “It ignites, I think, a really difficult conversation about who deserves to be getting paid more in this ecosystem because Trisha will be bringing in a lot of box office… but will also be spending extraordinarily little time on stage.” (19:00)

• On the rise of Broadway cameos and its implications:

  “Is the Broadway cameo something we should have seen coming a little bit sooner?” (21:56)

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Important Timestamps

| Timestamp | Segment Description | |-----------|--------------------| | 01:38 | Announcement & immediate reactions to Trisha Paytas casting | | 03:00 | “Tour stop” Broadway model explained | | 05:15 | Trisha Paytas’s lack of traditional musical training and why her role is minimal | | 06:50 | Explaining the Maxine Dean character | | 11:00 | Discussion of Beetlejuice’s financial history and cult following | | 15:54 | Addressing the “are actors losing jobs” question | | 18:23 | Contract disparities and broader labor implications | | 19:58 | Moral discourse and comparisons to other controversies (Kristin Chenoweth) | | 21:55 | Analysis of celebrity cameos (Gutenberg!, Titanique) and their effect | | 24:02 | Assessing Trisha’s suitability for her limited Beetlejuice role | | 24:58 | Speculation about the trend growing in London/elsewhere |

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Tone & Closing Thoughts

Mickey Jo maintains his signature blend of humor, skepticism, and informed theatrical analysis throughout, neither fully condemning nor condoning the stunt casting choice. He calls for open discussion:

“I am sort of morbidly fascinated and I would love to know, as always, what everyone else thinks about this in the comments section down below.” (25:52)

He urges listeners to reflect on the broader industry trends, both economic and cultural, that have paved the way for such unprecedented casting decisions.

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Final Takeaway

The episode offers a comprehensive, witty, and sharp look at the realities of Broadway economics, social media influence, and the sometimes uncomfortable coexistence of commerce, celebrity, and art. It’s essential listening for anyone interested in how the industry is evolving—and what may come next if stunt casting continues to expand its influence.

Transcript

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ACAST helps creators launch, grow and monetize their podcasts everywhere. Acast.com Trisha Paytas is joining the Broadway Company of Beetlejuice Trisha Paytas is joining the Broadway Company of Beetlejuice Trisha Paytas is joining the Broadway Company of Beetlejuice. I say it three times, not as a reference to the show, but because because I'm still processing this information in real time. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to you if you are listening to this fascinating news update on podcast platforms. My name is Mickey Jo and I'm obsessed with all things theatre, even when it's incredibly strange. I am a professional theatre critic and a content creator here on social media and today I bring you the bizarre news that Trisha Paytas, social media personality, shall we say, is going to be joining the Broadway tour stop of Beetlejuice, which has recently started performances at the Palace Theatre in New York. This is the national touring production which, like the national tour of Mamma Mia. Is playing a Broadway tour stop, this being a financial model that we are seeing more and more of, with the recent revival production of the Wiz being an interesting example. And within that model, the production is playing a limited run on Broadway. It is not going to be here for months and months and months. It is only arriving for a short holiday time window, creating a scarcity of tickets that presumably will make it a little easier to sell them. But to make sure that that they really do, we have a little bit of stunt casting involved in the show as well, in the form of Trisha Paytas. There is plenty to say about this. I have opinions and I'm sure that you do in the comments section as well. I'm going to try and look at this from every conceivable angle. We are going to talk about this casting. We're going to talk about whether or not I think it really matters, whether it's worth the outrage and more broadly, what this means for Beetlejuice and for Broadway. I don't have to tell you to share all of your thoughts in the comment section down below because I know that you will. But if you want to stay up to date with everything that I think about what's going on on Broadway and in the west and in the theater world globally, make sure to subscribe to my theatre themed YouTube channel. Go follow me on podcast platforms. I can't bear to wait another minute. Let's talk about Trisha Paytas in Beetlejuice. Now. In truth, this wasn't a total surprise. It had been rumored on social media, but it had been rumored on a platform that is wildly inconsistent when it comes to accuracy and journalistic integrity. So, you know, nice to see on this occasion that it wasn't entirely nonsense. And there is some history in the context of this piece of cast as well, because Trisha Paytas, who has done a lot on social media and whose existence and online career I struggle to summarize, though I also don't necessarily encourage you to google it, especially if you share an Internet capable device with a family member. But in recent years, Trisha Paytas has also emerged as a musical theater and Broadway super fan, and for a time she was deeply obsessed with the musical Beetlejuice. She was cosplaying and she was reenacting entire songs and scenes with multiple cats cameras dressing up as the different characters. More recently she appeared on Broadway in a one woman show at the St James Theatre, which sold wildly fast and then sold live stream tickets as well, which should have been an indication about the popularity of Trisha Paytas and the likelihood that she was going to try and return to Broadway in some other capacity. Evidently she can sell tickets. She can sell tickets to a Broadway house in New York and producers will have noticed that, and clearly they have. And if you're now thinking great, fantastic, popular social media star goes into show and helps it sell more tickets, just like Charli d' Amelio recently did in and Juliet, then the important clarification here is that Trisha Paytas, as well as being deeply controversial for many, many years, in many ways she still is is not explicitly and I'm really trying to think of a nice way of saying this talented. That is to say she is not a trained dancer like Charli d'. Amelio. From what we saw of her one woman show on Broadway, she is incredibly charismatic and very endearing. She has an effervescent personality. That's what her so popular on social media for so many years and so prolific. She's clearly determined and driven. She is not an extraordinarily gifted singer, but she's also before we get too upset about it, not playing a singing role in the show, let me tell you some more of the details from the press release that I have just received. This time when I open it, I won't fall off of a chair. Here we go. Trisha Paytas to join Beetlejuice on Broadway. She will be starring as Maxine Dean in beetlejuice for a three week limited engagement. So a only for three weeks of its larger run that is from Tuesday, November 4th through Sunday, November 23rd. With your next question perhaps being Mickey Jo who on earth is Maxine Dean? And I have not yet seen Beetlejuice. It has yet to make its way to the uk, though a West End premiere was recently announced for next year. Very exciting. But from a brief moment of Internet research I have discovered that Maxine Dean is a character who appears in one scene in the first act. She is something of a minor comedy character who is involved in in one of the show's iconic musical moments, but who doesn't independently sing in the context of the show. She is normally part of a featured ensemble track that plays multiple different roles. Trisha Paytas is only playing one of two or three depending on who you ask. How do they Describe her in the press release. Let's go with this. Trisha Paytas is a creator, podcast host, actress and vocalist, okay. Who over the past 18 years has helped shape online culture that she has and inspired a new generation of talented, okay. While building a following of over 20 million fans and 2 billion views on YouTube. Which apparently is all it takes to get a walk on role on Broadway. Imagine each of you convinces five of your friends to watch a few of my videos. We could be there. This could be Mickey Jo Theatre in Beetlejuice. I don't know that I'd make a compelling Maxine Dean, but I would do my best. Trisha is known for being versatile. Excuse me? Trisha is known for being versatile. She's done everything from lifestyle vlogs, asmr, mukbangs and cosplay to music videos, comedy skits and honest personal monologues. She's appeared in over 50 TV shows and movies including the Tonight Show, America's Got Talent, Modern Family and Celebrity Big Brother UK. In 2024, Trisha took her career to the stage with the Eras of Trish, a 30 plus city sold out live tour that was part concert, part storytelling, part drag show and full of her signature humor. It was a fun self aware look back at her many phases from her iconic early YouTube moments to being a pop singer, podcast host and mom of three. Then in 2025 she made her Broadway debut. This is the one I was telling you about with Trisha Paytas Big Broadway Dream, a one night benefit concert at the St. James Theatre that featured stars like Sutton Foster, Ben Platt and Rachel Zegler. The show was a dream come true and a nod to her love of musical theatre. And from that perspective I have to to a certain extent be happy for her. You have to be happy for anyone who is getting to achieve their dream and they've done this before. And this is a really egregious example and I am not holding this up next to Trisha Paytas and suggesting it's the same thing, but stay with me. They have done walk on cameo roles like this for Make a Wish Kids. I know, I'm not saying it's the same thing as Trisha Paytas, I'm just pointing it out. Another popular social media content creator, Kim Hale got a one night only role in Chicago on Broadway. Though truthfully I think that being the very talented dancer that she is, Kim Hale could have just been put into the show in an ensemble track. We've also seen this in the UK around the time of like comic Relief there's been various sort of charity adjacent promotional moments when celebrities have had walk on roles in often musical comedy shows, simply because those are the shows in which it's easier to pull off. It would be very hard to have somebody walk on in Hamilton and suddenly have to do the Blankenbuehler choreography. All of which is to say it's not completely unprecedented that this is happening. But my question before we get on to the Trisha Paytas of it all, which believe me, we will be circling aggressively back to, is did Beetlejuice need to do this? So this is what I think is really interesting to consider because like I said, the tour stop model is meant to be a more inexpensive one. You have these productions that have already been around the country. This tour, I believe is already reported to have recouped its investment, which Beetlejuice didn't do while it was on Broadway either originally at the Winter Garden Theatre or subsequently at the Marriott Marquee. Also worth pointing out that by this point in 2025 with Beetlejuice's third Broadway run, it's really had time develop a lot more of an audience and a lot more popularity as a cult hit musical Death Becomes her is thriving over at the Luntfontanne Theater. And tonally they do feel quite similar. Both of them owe a lot of their ongoing popularity to social media, virality and TikTok, which served Beetlejuice quite well in its early days, but not well enough to save it from eviction and then subsequently closure. Which is perhaps why there is a little bit of a nervousness around this third Broadway run. Both of the first two did not really end successfully. What is said about that in the press release is Beetlejuice had two unconventional, record breaking Broadway runs that brought a new and very engaged audience to Broadway via TikTok, YouTube and social media, playing to sold out standing room only audiences in 2019 at Broadway's Winter Garden Theatre on some occasions, and again in 2022 at the Marquee Theatre for a total of 679 Broadway performances. Beatlejuice the musical just finished a critically acclaimed record breaking 88 city tour. My gosh, that's a lot of cities. With one last Broadway resurrection at the legendary Pal Theater. Interestingly, its Broadway runs are all going to have been three years apart, so set your calendars for Beetlejuice's fourth Broadway run in 2028. Which theater is it going to? I hope it's the Lyric. Anyway, obviously as the run of the show progresses because grosses are made public on Broadway, we will see exactly how well it is selling, what the capacity looks like, what the average ticket price looks like, and how much interest there actually is in Beetlejuice. Because the online fandom and the noise of all of that and the social media buzz can sometimes offer a little bit of a smokescreen and it can suggest that there is more enthusia for the show than there actually is. Or at the very least, perhaps the enthusiasm that there is doesn't make its way to the box office in New York, because something going popular online is all very well, but you're going to be making a lot of fans who aren't local enough to go and see the show in the first place. Especially when you consider that They've just visited 88 cities worth of fans who have had the chance to see it considerably closer to home and to see the same production. Really, when you consider the version of the show that they had come to their local theater versus the Broadway one, I guess Trisha Paytas is the only sizable difference, because I believe the cast is otherwise the same one that's been on tour. And this is a phenomenon that we've seen as well. We've seen this in the UK when a show is very successful in the West End and then tours around and goes back to London and can't quite generate the same enthusiasm. Even when a show finishes a limited run in one place and then opens elsewhere, sometimes for whatever reason, they just can't get the fire started that was burning brightly where they just were. It makes little sense, but it can be difficult to try and transition an audience geographically. And obviously, although the grocers are on their way, what we don't have access to at this time that the producers do is data about the advance sales. And we could possibly speculate that they are foreseeing that Beetlejuice's Broadway return isn't currently selling as well as they might like. Although I do hear that this deal with Trisha Paytas to go into the show is one that has been talked about potentially for months, even since her Broadway concert at the St. James. And I recently spoke about the current financial landscape on Broadway and how challenged it is, particularly for musicals with really successful, well selling shows struggling to recoup. And the thing that consistently seems to be able to sell tickets is star casting. We are seeing it right now with Keanu Reeves and Alex Winter in Waiting for Godot. We saw it last season with Denzel and Jake Gyllenhaal and George Clooney and Sarah Snook and Kieran Culkin this is what does seem to be working on Broadway, so you can't blame Beetlejuice for seeing that happening around it and trying to emulate a little bit of that success for themselves. Whether they needed to I still can't really say. But obviously there is going to be a certain bump in ticket sales because of Trisha Paytas appearance. This is going to to a certain extent benefit them. I say that because I don't think that the number of people who were going to buy tickets who now won't specifically because of Trisha Paytas involvement will outnumber the people who are going to want to see her in Beetlejuice. Which brings us back to a conversation about Trisha and what I think of this.

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[Mickey Jo]

Piece of Casting Now Believe it or not, even though we are talking about one individual human being and them being offered a job, this is also simultaneously a moral issue and people have a lot of feelings in the social media comment sections already where this has been announced. And the biggest complaint about which I would like to offer a little bit of clarification is the notion that Trisha is personally snatching away a job from another more deserving, more hard working and more talented Broadway actor. And yes and no one confusion that is in a lot of these comments is the idea that somebody new would have been cast in this role and they could have cast like like an undiscovered talent. Because we always love to talk about undiscovered talent. As if there aren't plenty of discovered performers and hard working performers. As if it always needs to be a 20 year old who literally just got off a bus with a suitcase. No, in reality this role had already been filled around the country by a member of the touring company and it specifies in the press release, although not everyone has delivered this in the headline news, hence the outrage that Sharon Sye will continue to play the role of Juno through Trisha's run and will return to the role of Maxine Dean juno on Tuesday, November 25th. So I mentioned to you that this particular featured ensemble track, I believe it is, plays multiple different named characters, one of them being Maxine Dean, another being Juno, and the performer who was playing Maxine will still be in the show throughout Trisha's run, will most likely still be getting paid the same, but will just not be in that one scene will now just be playing Juno. It's honestly not a million miles from when Beetlejuice came back to Broadway and originally company member Leslie Rodriguez Kritzer Post Pandemic stopped playing the dual roles of Delia and Miss Argentina and they separated it into two principal tracks and instead she was just Delia. And so I don't think we necessarily need to be lamenting for the losses of this Broadway actor who is going to continue to be in the show every single night that Trisha Paytas is there but just isn't going to do this one part of their track. And frankly, far worse things have happened along the same lines before because because in an effort to try and suddenly bring in some stunt casting, contracted performers have on previous occasions in the West End and on Broadway been paid out so that they depart the show for a small time so that higher profile names can be brought in. This happened in Waitress in the West End. There were rumors that they were thinking about doing it with Bad Cinderella on Broadway. That would have been a fascinating show for Trisha Paytas to go into if that Playbill headline had hit me in a push notification in 2023, I think I'd have had a Cardiac episode episode. But like I said, there have been multiple occasions when performers have been significantly more hard done by in order to, at short notice, accommodate a star who would sell more tickets. And it's always sticky. It is never ideal, it is always very uncomfortable. But it's also, especially right now in the current financial landscape, one of the difficult realities of show business. And I'm not defending it, I'm just saying that it happens and it has happened. Would it have been better if the entire touring cast cast were fired before they came to New York and slightly more high profile names were found for all of these roles? No, of course not. But it is worth considering another angle of all of this, which is how much that touring cast is being paid. Because there has been a rumor that the various touring productions which are doing Broadway tour stops, Beetlejuice and Mamma Mia. Have not hired their casts on production contracts, which is to say the same contract that everyone else is on in New York when they are playing at a Broadway Broadway theatre. And I'm not the person to talk to about the specific differences in these contracts, but the actor Rob McClure, who is an alumnus of the original production of Beetlejuice, shared some concerns about this in an Instagram story about the idea that actors might now be playing Broadway on other contract types and presumably being paid less. Which when you hold it alongside the undeniable likelihood that Trisha Paytas is going to be getting paid a significantly higher wage, does start to feel a little bit more gross. And it ignites, I think, a really difficult conversation about out who deserves to be getting paid more in this ecosystem because Trisha will be bringing in a lot of box office, will be bringing a lot of fans to come and see the show, but will also be spending extraordinarily little time on stage. And actually, if we're talking about the ideal Broadway wage as being reflective of stage time and labor, then the Phantom of the Opera for many years now has probably been paid too much. I would be fascinated actually to find out how much Charli d' Amelio was getting paid in Andula Juliet. And before we carry on with that particular conversation and consider what this means for Broadway, I do think that this is an interesting epilogue to the conversation we were having here a few weeks ago about Kristin Chenoweth in the Queen of Versailles and comments that she made on social media that alienated many of her followers and prompted a lot of people to suggest that they would boycott seeing the new musical the Queen of Versailles on moral grounds. And I can only assume that people are going to bring as much heat to Trisha Paytas for a lot of the things that she has unashamedly and without apology said over the years. You have to kind of reflect on the fact that Kristin Chenoweth's largely ambiguous political commentary sort of fades now in comparison with everything that Trisha has ever talked about and done and cosplayed and sexualized. And once again, I'm not personally encouraging audiences either to boycott one particular show or not people are going to do what they want, but I do think that continue to stand solely in judgment of Kristin Chenoweth would be a little bit hypocritical. Anyway, as promised, let's talk about what this means for.

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[Mickey Jo]

Broadway Now I mentioned how it wasn't a surprise that Beetlejuice, like many other shows, was leaning towards the lucrative notion of star casting or stunt casting. But more specifically, is the Broadway cameo something that we should have seen coming a little bit sooner? And I'm not talking about Charlie d' Amelio's role in and Juliet because Charli d' Amelio was brought in as a member of the ensemble for her dance ability. I don't consider that a cameo. It's a very hard working ensemble in that show. I am talking more about the roles specifically created for people to just walk on, be their celebrity self and then leave again. And when trying to think of examples for this, I thought about Gutenberg and the moment at the end of the show starring Andrew Reynolds and Josh Garrett had when a different celebrity would walk up through the audience and take to the stage and announce that they were a famous Broadway producer and they were gonna produce this musical that had just been pitched within the show with some of them adapting it a little bit more to their own celebrity, like when some of their former Book of Mormon co stars like Rory o' Malley were involved. And that was a really fun moment of the show. It was a surprise at every performance. So I don't know that anyone was buying tickets in the hope of seeing a particular celebrity, but it gave them a little moment consistently share on social media that kept the show in conversation, that kept it buzzy, that made people more aware of it. And maybe some people did book tickets just because they were excited about the celebrity cameo at the end. Maybe it gave people who had seen the show once already reason enough to go back. I personally saw the show on an occasion when they didn't have a celebrity at the end, and one of the show's brilliant cover performers who was standbying backstage instead did that little moment. So I wouldn't know. And in fact there is another show which towards the end of its run had started include a few more cameos. I am talking about Titanique. Not just the New York production, but also the one in Chicago. There are a handful of improvised moments within the show, and one of them provided the opportunity to bring on guest performers, guest celebrities, some of them proximal to the Titanique family, alumni of the show who are now in other things or just other social media personalities. This isn't something that they did consistently or all that often, but it's something that they had started toying with clearly. But again, it doesn't really work in the same way in terms of generating ticket sales because it would have been a surprise for the audience. What it does is provide yet again a nice little buzzy social media moment. I'm curious about the extent to which Trisha Paytas's appearance in Beetlejuice is going to be turned into social media content. Whether they're going to try and share around that what little they can can during the scene that she's in, if only to disincentivize people from filming it in the auditorium, which you sort of know they're going to try and do anyway. And troubling, as the thought is of more shows trying to find moments to wheel on various celebrities, is it inherently preferable to stunt casting that sees individuals playing roles that are entirely beyond their skill set, which is something that we have seen in a handful of shows from a handful of producers, less so over the past few years, but certainly pre pandemic? We can all think of some really egregious examples of bad stunt casting. I was asked this question just recently on a podcast recording before the Trisha Paytas news emerged, and although I'm sure people will point some out in the comments section, I think it's been a while since we have seen celebrities take to the stage in material that has really been beyond them or has had to be significantly adapted for them to even be able to sing it in the first place. First place. And when it comes to Trisha and Beetlejuice, I don't necessarily think this is going to be an example of that either. I think she has a big enough personality and is charismatic enough that she can probably land the few moments of dialogue that it sounds like she has. I'm not familiar with this role and this material, but it sounds incredibly minimal. I don't believe she has to sing, I don't believe she has to dance. I think she has enough natural enthusiasm for Broadway and for this show that she's going to understand the tone and what it is that she needs to do. I think she's gonna take it seriously and work hard on doing it and good for her. Is this something that the producers are subsequently going to look at for the London production? Is the UK answer to Trisha Paytas, who might be someone like a Gemma Collins going to be put into that role? Are other struggling Broadway shows going to beg Trisha Paytas to come and play small walk on characters or find similarly compelling social media personalities who command a lot of tickets at the box box office? I don't know. I kind of hope not, but it wouldn't be utterly surprising given the dire Broadway financial landscape I keep telling you about. For now though, that is as much as I think it is fair to speculate about Trisha Paytas Broadway appearance. I am sort of morbidly fascinated and I would love to know, as always, what everyone else thinks about this in the comments section down below. Do you have any kind of an opinion? Are you explicitly going to book tickets to see Trisha pulling Paytas in Beetlejuice? Did anyone catch her live show? Is anyone going to avoid the show now because she's in it either during or outside of her run? Let me know all of your thoughts about Trisha going on Broadway. In the meantime, thank you so much for listening to mine. I hope you enjoyed and if you did, make sure to subscribe to my theatre themed YouTube channel. Turn on notifications so you don't miss any other breaking news like this or go follow me on podcast platforms. I hope as always, that everyone is staying safe and that you have have a stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching have a Stagey Day. Subscribe.

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[Lexi and Nicole]

Are you a fantasy reader looking to cure your book hangover? Then welcome, welcome, welcome to the Fantasy Fangirls Podcast. I'm Lexi, older sister and fantasy lore nerd. And I'm Nicole, younger sister and romantic actress heart. And we love exploring these stories, worlds and characters well beyond the last page. Fantasy Fangirls is not your typical book Deep Dive podcast. When we say deep dive, we mean deep dive where every episode covers a stretch of chapters and is structured with five segments to easily follow along. We are currently Deep Diving Quicksilver by Callie Hart in the lead up to its highly anticipated sequel Brimstone. We're so excited. We hope you join us as we travel through the Quicksilver to dive deep into literary and character narrative analysis theories, lore, themes, and so much more.

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