Herobread Advertiser (14:13)

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Scott Hansen (15:14)

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Mickey Jo (15:45)

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.

Scott Hansen (21:24)

I'm Scott Hansen, host of NFL Red Zone. Lowe's knows Sundays hit different when you earn them. We've got you covered with outdoor power equipment from Cobalt and everything you need to weatherproof your deck with Trex decking. Plus with lawn care from Scotts and of course pit boss grills and accessories, you can get a home field advantage all season long. So get, get to Lowe's, get it done and earn your Sunday Lowe's Official Partner of the NFL.

Mickey Jo (21:55)

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.

Herobread Advertiser (27:40)

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LHH Recruiter (28:25)

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Mickey Jo (29:27)

ACAST powers the world's best podcasts. Here's a show that we recommend.

Lexi and Nicole (29:34)

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.

Mickey Jo (30:18)

ACAST helps creators launch, grow and monetize their podcasts everywhere. Acast.com.