Musical Lyrical Lingo
We're Musical Lyrical Lingo!
Join Tim and Lj who delve deep into the wonderful world of musical theatre and more importantly the lessons they have learned from different musicals.
Join them as they explore some of the greatest musicals ever created, from the classics to the new and exciting shows that continue to teach us something new.
So whether you're a seasoned fan of the stage or a newcomer, this podcast is for you.
So sit back, relax and get ready to immerse yourself in the world of musical theatre.
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Musical Lyrical Lingo
The Gilded Age and Theatrical Elegance in Hello, Dolly!
Curious about the latest rendition of "Hello, Dolly!" that had us spellbound at the London Palladium?
Step back in time with us as we explore the rich tapestry woven into "Hello, Dolly!" From its origins in Thornton Wilder's plays to becoming a Broadway classic, we unravel fascinating historical references and the show's indomitable charm. We also delve into Louis Armstrong's iconic rendition and the musical's journey through rewrites and triumphs. Imelda Staunton's and Jenna Russell's heartfelt performances are highlighted, capturing the essence of nostalgia and the timeless appeal of classic musicals.
This episode promises a deep appreciation for the sophistication and enduring magic of musical theatre.We shift gears to the enchanting world of "Hello, Dolly!" featuring the legendary Imelda Staunton at the London Palladium. Tim and Lj discuss how this awe-inspiring production exceeded all expectations, thanks to innovative changes and additional songs that made the show truly one-of-a-kind. The exceptional cast, creative direction, and lush orchestration left a lasting impression on Tim and his father, cementing this performance as a cherished memory. They also explore the themes and societal reflections within "Hello, Dolly!", drawing parallels to "Fiddler on the Roof" and "Bridgerton" while addressing the outdated views presented in songs like "It Takes a Woman."
Our conversation takes a refined turn as we delve into the culinary history and theatrical elegance of the Gilded Age, discussing iconic dishes like Eggs Benedict and Baked Alaska, as well as historical figures such as the Astors and JP Morgan. We wrap up with an emotional reflection on Imelda Staunton's nuanced performance and the overall production's focus on storytelling and character development. The use of modern technology alongside traditional charm made this old-school musical a sophisticated and emotionally resonant experience you won't want to miss. Join us for this heartfelt exploration of musical theater that promises to leave you both entertained and enlightened.
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Hello and welcome to Musical Lyrical Lingo. We're your hosts. Tim, had you recorded?
Speaker 2:And Darren. This week and every week we talk about musicals, but specifically what they have taught us. Well, what have you been up to the last week, Tim?
Speaker 3:Ah, this is a refreshing change. Please tell me, we're recording, guys, we're still here Are we recording.
Speaker 2:It's glad, are we actually?
Speaker 3:recording. We are Brilliant.
Speaker 2:I was recording and then Lauren just stopped.
Speaker 3:But you're glad that I bring professionalism to the table. Absolutely. Now you understand what I have to deal with.
Speaker 1:I'm sorry guys, I'm still here.
Speaker 3:Oh hi.
Speaker 1:I didn't know if you were recording.
Speaker 3:Oh, it's okay when somebody else mucks up the intro, but when you muck up the intro, there's always an excuse, right? It's okay when somebody else mucks up the intro, but when you muck up the intro, there's always an excuse, right?
Speaker 1:whatever, today there was a husband.
Speaker 3:Yeah, absolutely.
Speaker 1:Well, there you go. You've always got somebody to fall back on.
Speaker 3:Got my standby.
Speaker 2:Let me see if Anne's here.
Speaker 3:My swing, oh, you're going to. Oh, sorry, I am so I am impressed, aaron, with how much you've come on over the last year with your musical theatre and all that. I mean you have literally just done a one man rendition of Hercules.
Speaker 2:I know I did, unfortunately.
Speaker 3:Including all. Is it five? What are they called? They're not the fates. That's Hades time. No, they're the fates. Is it the fates? Yeah, they're the fates. Five of them. Yeah, like you were all five. Thank you, and Herc Um my CV Packing his. What is it? Was it pack?
Speaker 2:Oh good Folks line up just to watch him flex, and his perfect package packs a pair of pretty pecs, but it's even more impressive when you're like singing it really fast.
Speaker 3:I give it stacks, you gave it stacks.
Speaker 2:I mean, I have to update the CV, I think.
Speaker 3:So can I just check we are recording. Yeah, yeah, so you did do that awkward silence yeah. Whilst we were recording, yeah.
Speaker 1:Because I didn't know if we were recording.
Speaker 3:I didn't feel and I ran from stage left Do you know, I was thinking as we were coming into this episode. Do people think or know that we record that intro live every single episode? But now they do.
Speaker 1:Yeah, now they do, but that's what Jen had said. She was like do you record that live?
Speaker 3:every week, I know I know, Because I think we do pretty similar most weeks.
Speaker 1:I mean, it's all our professional training, Some people's professional training, but's all our professional training Some people's professional training.
Speaker 3:Some have more professional training than others. Some just blank and look at their executive producer as in it's their fault.
Speaker 1:No, you didn't hit the record. I am sorry, I am deaf and I did not hear recording. I did not hear that. What, which means he didn't say it.
Speaker 3:He did. Well, I knew to start.
Speaker 1:No, I think you just say it.
Speaker 3:Oh what I? I practice it before we go. Honest to goodness.
Speaker 1:Okay, whatever.
Speaker 3:Right, we're tangenting Very quickly before we get into today's musical, because I am Living the dream this week.
Speaker 1:What are you doing?
Speaker 3:No, no, no, I mean the musical we're talking about this week. I am like proper, I'm geeking out this week, I know, you saw Wicked.
Speaker 1:Yes On tour. Yes At the weekend. Yes In Dublin.
Speaker 3:The board gosh.
Speaker 1:It was fantastic. I have not seen it since the first time I've seen it, so it's what? Why is that funny? I have not, as in, I've only seen it.
Speaker 3:Once before Once before there we go.
Speaker 2:It's not going to be, but, like I haven't, this is the first time I've seen it. Since the last time I've seen it.
Speaker 1:All right, yeah, I read like. The last time I've seen it was in Dina Menzel and Adam Garcia in the Apollo Theatre in London when it first came to London. Okay.
Speaker 3:I saw it then too, not with you, but I saw them, I think.
Speaker 1:So, but you've seen it many times since then.
Speaker 3:Yeah, I've got a bit bored of it. So, but you've seen it many times since then. Yeah, yeah, because I thought I had seen. I've got a bit bored of it, to be honest.
Speaker 1:Well, I thought I had seen Zoe and I don't think I have. Or if I have, then I haven't seen it since, zoe, okay. Okay, so it's been a long time.
Speaker 3:And does it feel different from Apollo Theatre to touring production?
Speaker 1:I felt no, my memory is good sometimes, but I felt that there was certain things. They changed slightly, so I was like, ooh, that's not how I remember it. Um, yes, it, uh, it did feel different, um, but it was fantastic. We also seen the understudy for Glinda. Yeah, and if, like, I'm sure, the girl that is playing Glinda and she actually, I think it's Sarah O'Connor, oh, sarah O'Connor, in Punto.
Speaker 3:She's amazing, she is amazing.
Speaker 1:I've seen her and I'm sure she, but the girl that we seen was unbelievable.
Speaker 3:Okay, cool.
Speaker 1:I'm like, oh, my goodness, you're.
Speaker 3:Do you know her name?
Speaker 1:I can't remember Melissa, I think, gordon I think. I could have made that up and she was like unbelievable where I was, like that is your role, so it's a shame that we didn't see Sarah yeah.
Speaker 3:Because I know that she's very good. Yeah, that's her home venue, isn't it? It was Lauren.
Speaker 1:Pick that we've seen.
Speaker 2:Pickard.
Speaker 1:Pickard as Elphaba, and she was great.
Speaker 2:Yeah, Really really good Did she do the whole?
Speaker 1:Yeah, and I love some of her option ups and her downs and her it was brilliant.
Speaker 3:And we've talked about it before, we prefer no Good Deed to Defying Gravity. And do we still feel the same?
Speaker 1:Yes, absolutely, it was so good. Actually goosebumps.
Speaker 3:That was season one. We did Wicked, wasn't it? Yes, oh, my goodness, that feels like last week we were talking about it.
Speaker 1:That was also the first time that I have seen professional singers sing for good since mommy's funeral.
Speaker 3:Okay, I struggled. Oh, bless you and I struggled a lot. Yeah.
Speaker 1:But I was with my wonderful friend Gillian she had got me and the kids it.
Speaker 3:She was giving you a wee squeeze.
Speaker 1:And it was just and it was lovely. And I do think if I had been with Caitlin, my sister, I probably would have completely lost it and not been able to control myself, but it was from the tears, it was lovely and it was such a lovely moment as well. You know, like I think I've forgotten how that song is really needed in.
Speaker 3:Wicked, you know when you just listen to the cast recording.
Speaker 1:Sometimes it takes you to watch stuff.
Speaker 3:And songs like that from Wicked are. You can just play us anywhere in life. It doesn't even need to be in the context of that show. It's just a really beautifully written song. Well done, Stephen Swart.
Speaker 1:I know so no, it was great and the kids had a ball and as we knew they would love it, but they, you know, goosebumps, goosebumps. This is our new favourite musical. You know, it was great.
Speaker 3:Isn't that lovely, though.
Speaker 1:Lovely though they're starting to experience like new shows and stuff I love it, but, um, we, we'd sing too, and I feel like this is the only way I can see a musical night is I need to see two like back to back, because we sing shrek and then, yeah, that's well, I bumped into you in shrek.
Speaker 1:It was good too um, but I just I feel and also there has to be a theme green, so green, and then obviously we sing Chitty one week and then we went and seen a movie musical the night before. We sing Back to the Future, and then Chitty and obviously Back to the Future had the connection I just feel like I need to have.
Speaker 3:Okay, I'm getting a sore head here. There's too much, too many connections.
Speaker 1:But anyway, yes, that was lovely. It was another wonderful musical filled weekend, and life should just be filled with musicals.
Speaker 3:Yeah, I agree. Well, I have a wonderfully gorgeous connection to this week's musical.
Speaker 1:Do you.
Speaker 3:Have you ever done it. No, oh, my goodness.
Speaker 1:I know because you've talked about it loads.
Speaker 3:Yeah, don't shut up about it. I'm so sorry. I think I have gone on and on and on about this musical right from the conception of this podcast and I was like, can we do this musical this week? And we haven't done it until now. So I appreciated it. However, it took me to go and see it in London before you agreed to it. You had to give in eventually, did you? I did. Why were you dragging your heels on doing this musical in the podcast?
Speaker 1:lauren just wanted to check I don't love it as much as you do this upsets me greatly.
Speaker 3:Aaron, are you free? I'm free, okay, so we'll just cut the mic to lauren and he's back in the room.
Speaker 2:I often as she said this about a musical that you like, she goes. I don't love it as much as you.
Speaker 1:But I don't love it as much as Timothy. I think it's a good musical. I've never seen it on stage. I've only ever seen the film.
Speaker 2:Sorry one second. You don't love it as much as Timothy, yet you've never experienced it on stage Live.
Speaker 3:I mean, there's plenty of musicals, but here's the thing you haven't experienced it, with Imelda Staunton playing the title role.
Speaker 1:No.
Speaker 3:Hello, dolly. No, and that's what we're going to talk about this week.
Speaker 1:It is Hello Dolly.
Speaker 3:And this episode will be three hours long. I'm joking. I will limit my gushing to the bare minimum for this evening because it's getting late. Can I just say tangent? I know, but I'll say it now. The view from your living room window is beautiful at night, I know. Gorgeous. We just had red sky, and the red sky is now gone and it's like a wee grey, yellowy, hazy nice.
Speaker 1:This is my favourite. I see this place where we live, this road at night time is my real comfort because, all the sounds, the views, everything. I love it at night.
Speaker 3:Well, it's beautiful. Do you know what I loved? The sounds, the views. Hello Dolly live in the London Palladium with Imelda Staunton playing Hello Dolly.
Speaker 1:Okay, so this week's musical is Hello Dolly.
Speaker 3:Did you not get that no?
Speaker 1:You went to see this when we were seeing Back to the Future.
Speaker 3:Yes, so we've done Back to the Future. Now is the time to talk about. Hello, dolly yeah.
Speaker 1:So this was something you were like. We mentioned it. Remember about how she was meant to do it? Yes, but then kovat hit yes and you said, like wouldn't she just make an amazing dolly?
Speaker 3:she was born to play dolly wouldn't, she, wouldn't, she, wouldn't, she.
Speaker 1:And then what like everything with this podcast three weeks later, or something? The producer was sort of like we're doing it.
Speaker 3:Yeah, finally, eventually. Yeah, so COVID happened, and then COVID wasn't happening, and then, I think, her filming for the Crown then got in the way, but then finally, thank goodness, michael Harrison, the producer then got in the way, but then finally, thank goodness, michael Harrison, the producer then got it onto the stage. Yeah, and it was sublime. Now, going to it, I thought it was going to be a carbon copy of the Broadway production, but it wasn't no At all, which was also really fresh and wonderful to know. And I just presumed I was going to see the version that Bette Midler had done in Broadway. But no, they changed it and they added in songs that weren't in the Broadway production and it just it had such a different feel to any Dolly I'd ever seen before. But then she's wonderful, she is insane, but Lauren, it wasn't just her, okay. So I'm going to put it out there and probably say it's probably the best stage musical I've ever seen.
Speaker 1:Really yeah.
Speaker 3:Because she was outstanding, okay, but I have never seen a production of that quality the cast, what the creatives had done to it, what it looked like, the fact that the orchestra was a full orchestra it just was wow from start to finish and you just left going. Okay, that was musical theatre, but that was musical theatre on a completely different level than I've seen, like I think I've ever seen. Wow, that just felt like you were saying something that you might never see again and I don't think I've ever had that. Do you know what I mean? I don't think I've ever left a theatre going. I don't think I'm going to see anything like that ever again, and I will be amazed if I ever do.
Speaker 3:Wow, yeah, that's fab, there we go, waxing, lyrical about it is over, or else I'll be here for the rest of the night. I love it, but yeah, it was truly special and it filled my heart.
Speaker 1:What I want to say is your dad went to see it.
Speaker 3:He did.
Speaker 1:And what did he think?
Speaker 3:of it. Exactly the same.
Speaker 1:Okay, amazing, interesting, exactly the same.
Speaker 3:Yeah, and he was very good in that. He said nothing, yes, until you'd seen it, because he's obviously my dad tends to see shows that I really want to see before me. I think it's just to grind my gears. To be quite honest with you, I think he knows exactly what he's doing. He does it on purpose, but, yeah, it was worth the wait thousand percent, and it's also one of those what you know, the way when you go and see a show that you really love, you're like I want to go back and see it again. I don't even feel like that about this, because I've gone.
Speaker 3:That was so amazing. I don't know if I would want to see it again with a different cast, or do you know what I mean? Everything about it was just so, in my opinion, perfect that I'm happy that I can lock that into my head and I'll never forget it for the rest of my life.
Speaker 3:And I don't think I need to see you know, I don't need to see that same production with another Dolly. I don't think that's going to happen, like I do think it will come out when their contracts end. Do you know what I mean? It was a yeah, limited. What do they call that Limited run, wasn't it? Yeah, but anyway, hello, dolly, gerry Herman's first big success and arguably the most famous show. But it was actually originally called Dolly, the Damned, exasperating Woman. Yes, and I mean, what a title, right?
Speaker 1:I know, I actually really love that title.
Speaker 3:It doesn't quite have the ring, does it, do you?
Speaker 2:know what I mean.
Speaker 3:No, and exasperating is the perfect word to describe this show, because it was exactly that. Okay, it was absolutely riddled with hurdles. Was absolutely riddled with hurdles, like. There's no show that had more hardship or more battles to fight than this one. In its conception, the producer, david Merrick, wanted Bob Murrell. This is really confusing because the two names are so similar Merrick and Murrell. So the producer, david Merrick, wanted Bob Murrell to compose. Murrell refused to work with Merrick and Merrill Okay. So the producer, david Merrick wanted Bob Merrill to compose. Merrill refused to work with Merrick's choice of director.
Speaker 3:Oh, my gosh so then Gerry Herman was brought on board. Okay Okay, the out-of-town tryouts were a difficult process. Herman had written songs for Ethel Merman because they wanted. Ethel Merman to play Dolly, and she turned him down.
Speaker 1:I know.
Speaker 3:So then Merman was replaced by the more than able Carol Channing, but then Herman had to rewrite some of the songs in a lower key to suit Channing's voice. So already you're like this isn't gonna ever make it to the stage, is it? But the most notorious failure is actually attached to the musical film version in 1969.
Speaker 1:Starring.
Speaker 3:Starring Barbra Streisand.
Speaker 1:And Andrew Matty.
Speaker 3:Yes him. It was one of the most expensive flops to date and also is widely credited with the temporary killing off of movie musical genre.
Speaker 1:Yeah.
Speaker 3:Which blows my mind. I read this too.
Speaker 1:So I think it's because Barbra Streisand was cast as Dolly and arguably she was too young.
Speaker 3:She even said it. She knew that she was really too young and she asked to be replaced and they said no. And when her request was refused, trice and then asked Herman to write two additional songs, and he did, he obliged and he wrote Just Leave Everything to Me, which I actually love. It's one of the really good songs.
Speaker 1:Yeah.
Speaker 3:It was a flop because it lost so much money, like the backers. Apparently all lost an estimate of $10 million.
Speaker 1:Because I think it goes back to your casting is so important, especially around this story. She's meant to have been. She's a widow. You know and I'm not saying that you know that you have to be old to be widowed not at all, but it's just the way that she her entrance back into life. After everything that's gone on at the beginning of Hello Dolly, it just feels like it should be an older woman and I just Barbara was just too young.
Speaker 3:I know, but how good is she in the role?
Speaker 1:I know she's good but I just don't think it was a good backing.
Speaker 3:Babs. You're blaming Babs for the failure of this movie musical Anyway.
Speaker 1:Yeah.
Speaker 3:Interestingly, something I didn't know, even though I loved the show Hello Dolly is actually a musicalisation of Thornton Wilder's play the Matchmaker.
Speaker 1:Yes.
Speaker 3:Yeah, and I didn't know that and it didn't keep that awful title that I said at the beginning, dolly the Damned, exasperating Woman, for long. It's new and catchy title for the show came when Louis Armstrong had a hit in the charts with his song Hello Dolly Well, hello Dolly Well, hello Dolly. And lovely that Louis Armstrong then also made a wee cameo appearance in the 1969 film, which I thought that was a nice wee tip of the hat.
Speaker 1:Absolutely. It's also based on the 1938 farce the Merchant of Yonkers.
Speaker 3:Yes.
Speaker 1:Which is then turned into the 1954 version. The Matchmaker.
Speaker 3:That's the thing it's had so many rewrites or adaptations. Doesn't it that actually for the final adaptation to be as funny and witty and quick and entertaining as it is, like fair dues, because it could have ended up a mess, yeah it could have yeah.
Speaker 3:You know, on paper, as a script it could have been a mess really. The stage show opened in Broadway St James' Theatre in January 1964 and was a great hit and won rave reviews, notching up 2,000 and, yeah, up 2,844 performances and winning a then record number of 10 Tony Awards, including Best Musical, best Book of a Musical for Michael Stewart and Best Leading Actress for Carol Channing.
Speaker 1:And Carol Channing Ethel Merman-Hugh. I know so, hello, dolly is really associated with Carol Channing and Carol Channing Ethel Merman-Hugh. I know so, hello, dolly is really associated with Carol. Yeah, and very beloved that that role is.
Speaker 3:Hello Dolly, that was a good Carol, channing, I've practiced all week for this episode.
Speaker 1:That actually was a very good. Yeah, thank you. And people have a real connection to that original cast recording. I've practiced all week for this episode. That actually was very good. Yeah, thank you. Very good, and people have a real connection to that original cast recording and the original cast recording was put into the Grammy Hall of Fame in 2002. Oh nice, it was so lovely for a musical. Yeah, absolutely. You know, and a musical back in the 60s.
Speaker 3:But I do think Gerry Herman did wonders with like in this show are brilliant, like really brilliant and iconic, like they are iconic.
Speaker 1:But most of his songs are. You think of me and you think of. Lacache.
Speaker 3:Yeah.
Speaker 1:You know, you've got some absolute belters there which whether you knew it was from a musical or not. You've probably heard of some of those songs or they've been used.
Speaker 3:A thousand percent.
Speaker 1:They've been used and whatever. And then that book, obviously the book by Michael Stewart. You've got 42nd Street, mac and Mabel.
Speaker 3:Yeah, you know, you've got good people.
Speaker 1:You've got people. You've got people that have a good wealth of experience behind them.
Speaker 3:Yeah, and they've created a classic. And do you know what? I'm just glad it did make it to Broadway with, all you know, winning all of those Tony Awards, because on the road to Broadway it was paved with bad reviews it was yeah, critics didn't love it One quipped. Goodbye, dolly. Oh, you see, if I ever made a punch of sugar in your nose. And Merrick then kind of had a bit of a strop and stormed and threatened to close the show before it reached New York and thankfully, gerry Herman went over my dead body.
Speaker 3:But it's the story of the matchmaker Dolly Levi. You know she misses her late husband Ephraim. I love the bit in the musical where she just stops. She misses her late husband Ephraim. I love the bit in the musical where she just stops and looks out and talks to Ephraim Because she decides that she wants to move on with her life and she wants to marry the wealthy Horace Vandy Gelder. You might find her go into like Go into some. Go into what's that accent every so often.
Speaker 3:Okay, go into what's that accent. Every so often he, however, becomes convinced that her aim is to matchmake and have him marry somebody else, but in fact she's making sure he's not going to marry anybody else because Dolly's determined not to let Horace get away. She wants him for herself.
Speaker 1:The half a millionaire.
Speaker 3:The half a millionaire. That's right. So there you go. That's the story of Dolly.
Speaker 1:Yeah, yeah, and.
Speaker 3:Lauren hates it no. I don't hate it. I know from your face, Lauren. You're looking at me. It's almost like you kind of look over the mic at me, going mm-hmm, Mm-hmm.
Speaker 1:Here we go. I do not hate Hello Dolly, but it is not one that I would sit down and listen to. I would not have it on repeat. There's some songs that I like in it.
Speaker 3:It only takes a moment. That's like iconic. I love it, michael Crawford.
Speaker 1:Well, I like the film. I do think that Barbara, as wonderful as Barbara is, I do think she's too young.
Speaker 3:Oh no, she is. Babs herself knew she was too young.
Speaker 1:I do think that she is too young.
Speaker 3:Anyway.
Speaker 1:But just remember, a couple of episodes ago I had said I will bring something up. Oh yeah, that's right. So remember, we talked about a little.
Speaker 3:This was the Mean Girls we were talking, wasn't it?
Speaker 1:So, mean Girls, the music is by Jeff Richmond.
Speaker 3:Yeah, who is?
Speaker 1:Tina Fey's husband.
Speaker 3:Yes.
Speaker 1:Well, he has just finished in 2023. He played Horace Van de Gelder.
Speaker 3:Horace Van de Gelder.
Speaker 1:So I was like, look, there was a little connection to something coming up.
Speaker 3:The world of music theatre is so small, lauren, so small. Did you learn anything? No, okay, I actually learned quite a lot.
Speaker 1:I did learn quite a lot.
Speaker 3:I'm so glad, considering you've never seen it live on stage.
Speaker 1:I mean also Hello Dolly is one of those ones that my mum would have watched a lot.
Speaker 3:Say, because your mother had good taste.
Speaker 1:And would have had like the album on. So I do know the songs, but I don't know. Maybe it's just because I haven't seen it on stage. Yeah, fair.
Speaker 3:What did you learn, other than Barbara was too young? You've mentioned it four times.
Speaker 1:Have I In Call on Dolly, don't forget to bring your maiden aunts.
Speaker 3:Yes.
Speaker 1:I think it was the first time I understood about some people not getting married and then they'll just be like the maidens in the family. Yeah, so I'm pretty sure I learned that.
Speaker 3:Yeah, that idea of matchmakers. Like the only other time I'd heard of a matchmaker was Fiddler, fiddler, and when I first heard it I thought they were singing about a pack of matches.
Speaker 1:Yeah, matchstick makers.
Speaker 3:Yeah.
Speaker 1:That's what I thought it was too. Yeah, exactly, and I actually had to look this up because I thought I originally thought Hello Dolly was a Jewish film or. Jewish story, because matchmakers and yentas and all of that are all obviously fiddler on the roof, but it's not actually it's not even though her husband was Jewish. It's not. Actually, she's not Jewish.
Speaker 3:No, and for centuries matchmakers were the ultimate social engineers, you know. And then you look at things like Bridgerton, like all those programs, and you're like, okay, I get it. You know they would have been employed to arrange, would have been employed by the parents to arrange a suitable spouse for their offspring. Yeah, and that's Dolly, and like it's hilarious, like she's constantly handing out her cards. Dolly Levi, you know I'll sort it out for you.
Speaker 1:Yeah, and I love in Dolly how she mentions that like her hands in everything. Yeah, she's like a little bit of this and a little bit of that, you know.
Speaker 3:Yeah.
Speaker 3:And it really sort of set she up for understanding there's more going on here, like, yes, she's maybe been employed to get a match with her but she's got another motive oh but she's quite clear, like I am going to marry Horace Vandegelder, but she just wants to have a sign from Ephraim to say that it's okay, that she can move on with her life. It's beautiful. It's got such heart from such a funny musical. It also has such heart In the song it Takes a Woman, which is probably the most misogynistic musical theatre number you will ever hear in your life.
Speaker 3:And completely, which is probably the most misogynistic musical theatre number you will ever hear in your life and completely of its time. It's horrendous. Gentlemen's opinions of women. In this song they sing. It takes a woman, all powdered and pink, to joyously clean out the drain in the sink and it takes an angel with long golden lashes and soft dresdened fingers for dumping the ashes. And that is just one verse. It then goes on to have many other verses about all of these jobs that women are supposed to do. Like horrendous but that soft dresdened fingers interested me.
Speaker 3:So what's this? What are soft dresdened fingers? What did you think the reference was?
Speaker 1:So, according to my research, it is porcelain.
Speaker 3:Yes, like soft, delicate, fine porcelain.
Speaker 1:Yeah, so Dresden is porcelain which is produced in Dresden, in Germany, and it not China started in 1870s.
Speaker 3:Yeah. So just saying that Women are pristine and fragile and honest to goodness they also sing about. Women are for washing and bluing and shooing the mare.
Speaker 1:Yes.
Speaker 3:So did you get this one? I got this one too, the bluing bit, yeah, so I got. It was too the blueing bit the blueing bit, yeah, so I got. It was like blue dye that enhances the natural color.
Speaker 1:So blueing, or sometimes called dolly blue, okay, or sometimes called washing blue, uh-huh, is a household product used to improve the appearance of textiles especially white fabrics. It's a pH balancer Right that was commonly used in the 19th century as a way to brighten your whites. Um, and I don't know why, but one of my lovely core memories of your mummy is how she was so house proud yeah and I was doing this research and I swear your mom was like how did you not know what blue and was?
Speaker 1:I just felt, seriously, the weirdest, weirdest feeling came over me. That was your mommy going lauren, you should know what blueing is how weird is that so much. So I looked it up to see if I could buy some and it's okay, I'm gonna buy some. It's on amazon and it's called Mrs Stewart's Concentrated Liquid Bluing and apparently it's a game changer and it's only 15 pounds. I don't know what it was.
Speaker 3:Isn't that freaky Lauren Like the weirdest, weirdest thing, what?
Speaker 1:Where I was like I need to start adding bluing to my whites. I can't describe it, explain it anything. What?
Speaker 3:does this podcast do to?
Speaker 1:us. It's telling me I needed to know what blueing was?
Speaker 3:Oh, my goodness, wow, do you know what I thought? This is how different. We are right when I was thinking, oh, blue dye to enhance natural colour. You know the way? There's that trend now with like teeth whitening and you get that like purple bluey paste that then when you you put it on your teeth and when you take it off it hasn't done anything to the teeth. But it just makes your teeth look wider yellow so that's what I thought when I was researching what blueing was well, obviously you weren't being shouted at true, yeah, they also sing about weaving the Guernsey.
Speaker 3:Yes, and I didn't know what that was. Now, a Guernsey from my research is a Siemens knitted woolen sweater.
Speaker 1:Like from Guernsey.
Speaker 3:No, I think Guernsey is the name of the sweater.
Speaker 1:Oh right, okay, Like an iron jumper is an iron jumper, Like weaving the Guernsey.
Speaker 3:Weaving the jumper? Oh okay, I presume yeah, a knitted woolen sweater.
Speaker 1:Hmm.
Speaker 3:Now I would understand if you skip that song. Okay In the.
Speaker 1:I don't skip any songs.
Speaker 3:Yes, but it's very outdated. That one it is. I kind of feel guilty even listening to it, to be honest.
Speaker 2:However Van de.
Speaker 3:Gelder is such a great character, Like he is so of that time, isn't he?
Speaker 1:I did also learn in Dolly, if I go back to that, where she meets a girl with a diffident air I didn't know that that word diffident meant modest or shy because of a lack of self-confidence. Oh, there you go.
Speaker 3:See, Dolly solves everything.
Speaker 1:There you go.
Speaker 3:Everybody needs a Dolly in their life, Like where has Dolly been all my life?
Speaker 1:Where has Dolly been?
Speaker 3:Well, actually I did have a Dolly in my life. Her name was Veronica Barr and she was the most amazing dolly. She was my dolly.
Speaker 1:Oh yes.
Speaker 3:Carrying on.
Speaker 1:I also learned my aplomb at Cosmetic Art. Yes, and that is Confidence in Style.
Speaker 3:That's you. You have aplomb.
Speaker 1:Confidence in Style Thanks.
Speaker 3:I'll take it.
Speaker 1:I don't know if it's true, but I'll take it. One of my favourite songs.
Speaker 3:Yeah.
Speaker 1:Put on your sundial.
Speaker 3:Day clothes when you feel down and out. Yeah, me too.
Speaker 1:And I always forget it comes from Hello Dolly. It's one of those ones where I'm like oh yeah, that's a Hello Dolly song. I learned Brillatine.
Speaker 3:Yeah, get out your Brillatine and dime cigars.
Speaker 1:And it was the hair grooming softener. For men that's right. Which was created in the turn of the 20th century. I checked on Amazon they don't have it anymore.
Speaker 3:So sorry, boys, and am I right in saying that did come up in another episode and another musical?
Speaker 1:No, it was.
Speaker 3:Brillcring Right okay.
Speaker 1:Because I did look to see if they were the same thing and I don't think yeah because that softens brill creams like styling yeah.
Speaker 3:So then, uh, another uh lyric in put on your sunday clothes. And I remember at the time when I did dolly, I had to go away and research this because I had no idea what the lyric meant and it's such a random lyric about a stuff. So, basically, put on your Sunday clothes. Cornelius Hackle and Barnaby Tucker, who work in Van de Gelder's shop. They basically are going to put their working robes up for the day and just go out kissing and find a girl, and we won't come home until we've kissed a girl. That's my um harmony line, just so you know. Okay, because that was with two people um, you didn't sing along, um, and uh, he sings about, but we can go to, you know, new york and we can see the stuffed wheel at Barnum's Museum. I was like I don't understand that. I think it was also before the time of the Greatest Showman.
Speaker 1:So you weren't too sure.
Speaker 3:Yeah, but it's based on PT Barnum's Museum. And did you know? This is horrific. And I've just realised I need to get my phone out to read the quote. And I've just realised I need to get my phone out to read the quote. But in PT Barnum's museum it actually burned down in 1865. Hence the Greatest Showman when it was down right. But there, and that was about 40 years before Hello Dolly took place right and two live whales actually died in that incident, right. When you hear this, this is the report from oh, this is going to be annoying because I'm not going to be able to find it.
Speaker 1:So were those whales that died? Were they then taxidermied?
Speaker 3:Maybe, and they were put in the museum, is that right? Aaron, you're looking at me. Have you seen these whales? I have not seen them.
Speaker 2:No, aww Whaley surprised.
Speaker 3:Whaley surprised when you hear this. Right so PD Barnum's museum actually burnt down in 1865, right Two live whales died in the insolent and historiansorg describes it the salt water in the whale's tank started boiling.
Speaker 1:Oh.
Speaker 3:Someone broke its inch-thick glass wall in the hopes that the cascading water would quench the flames of the fire right. Instead, the two beluga did I say that right. Whales captured in Canada only one week prior were beached in a scorching floor before plunging to the street below as the building began to collapse. To the street below as the building began to collapse. The scene was grisly, but newspapers like the New York Herald recounted the story with glee, peppering the reporting with phrases like boiled whale. The carcasses lay rotting for several days on Broadway, far too heavy to dispose of quickly. Isn't that brutal?
Speaker 1:The smell? The poor whales, lauren? No, I know the poor whales, but I'm just also thinking about the smell, isn't that?
Speaker 3:awful. What a horrific story. You don't want to go like those beluga whales like, do you?
Speaker 2:You said two whales. I thought it was a really derogatory term for the receptionists.
Speaker 3:But they obviously said it was belugas. So it was. He's Horace Vandegel just singing. It Takes a Woman. I sure am All powdered in pink.
Speaker 1:Don't get that reference. Aw, you know those part wheels, especially if they're only just being here, isn't that awful.
Speaker 3:Who knew that that lyric was so horrific?
Speaker 2:I know. So tell me this. I take it. And I've never seen the Greatest Showman. I take it. They don't sing a song about the belugas.
Speaker 3:No, I actually don't see any belugas, even in the musical. Also, can I just say tangent will be very brief. We now know that the Greatest Showman is going to be made into a stage musical, but have you ever seen a most horrendous showcase?
Speaker 1:What do you mean?
Speaker 3:Than the showcase they put on to advertise it or to announce it at that Disney thing. I thought it was atrocious.
Speaker 1:I thought it was atrocious.
Speaker 3:I thought it was atrocious. I was like come on, guys.
Speaker 1:I mean Hugh Jackman's still going to be attached to it.
Speaker 3:Is he?
Speaker 1:Oh yes.
Speaker 3:But how long is it?
Speaker 1:going to take.
Speaker 3:They need to be listen. She'll be doing it when he's like 94. They won't be complaining about him being too young, that's for sure.
Speaker 1:No, they definitely won't.
Speaker 3:Anyway, do you have any others in Sunday Clues?
Speaker 1:In Sunday Clues they mention Delmonico's.
Speaker 3:Yeah, which is still going See the shows. Mention Delmonico's. Yeah, we'll see the shows at Delmonico's.
Speaker 1:It was originally a rented pastry shop in 1827 and was opened by Italian Swiss immigrant brothers. It is said that at this restaurant, that this where Eggs Benedict was originated.
Speaker 3:Isn't that incredible.
Speaker 1:Others do have claims for that.
Speaker 3:Oh.
Speaker 1:But there and also Baked Alaska is meant to have been coined there too, as well as the Wedge Salad.
Speaker 3:I love it's Baked Alaska where the ice cream's in the inside of the meringue. Oh, my giddy aunt, I haven't had baked Alaska in years Delicious.
Speaker 1:I know it's not fair. It's not like it's on the menu.
Speaker 3:I think it's quite difficult, though, to make, isn't it? No, I don't know.
Speaker 1:What else is ice cream and meringue?
Speaker 3:I'll tell you who made a good baked Alaska Alnur.
Speaker 1:Wow.
Speaker 3:Yep, they also sing. We'll Meet the Astors at Tony Pastors.
Speaker 1:Yes, and what's Tony Pastors?
Speaker 3:So Tony Pastors is an American impresario, variety performer and theatre owner who became one of the leading forces behind American vaudeville. And the Astors are I know this from the titanic j j jp. No, j j j aster I think it's j aster like one of america's most richest people of that time. Okay, and he was on the Titanic and died.
Speaker 1:Oh, the um. What do you call it? The JJ Astor?
Speaker 3:JJ Astor, it was a double J Tim, for goodness sake.
Speaker 1:Is it the?
Speaker 2:CM Astor's that are in that TV show, the Gilded Age, yeah, yeah.
Speaker 3:Oh, is that what you were going to ask there?
Speaker 2:Were there real agents for them Real estate.
Speaker 3:Yeah, that's right. So there you go. Very good, very good From elegance. Then We've got elegance, we've got, we do have elegance.
Speaker 1:We do Built in elegance, savoir.
Speaker 3:Savoir faire.
Speaker 1:The ability to act or speak appropriately in social situations.
Speaker 3:That is correct.
Speaker 1:And they also mention JP Morgan Correct me if I'm wrong EP. He was a leading global financier and dominated Corporate finance Wall Street.
Speaker 2:I think he actually won the White Star Line, which won the Titanic as well, and one of his major competitors Was a man called JJ Astor.
Speaker 3:See. So JP Morgan, the Astors, they're all in this musical.
Speaker 1:So he was just sort of like the number one person throughout that Gilded Age and should then pop up in season three of Gilded Age.
Speaker 3:I haven't watched any of Gilded Age. I need to watch it, don't I? Yeah, in Elegance, they also sing Vanderbilt K kowtows to us. What's that? So two things? I was like who's Vanderbilt? Vanderbilt is an American businessman and philanthropist. Thank you. There's some words in life I just can't say. And he amassed his fortunes in shipping and railroads. Correct, aaron EP is nodding. Correct, kowtows K-O-W-T-O-W-S is the act of subservient manner or bowing down to someone in old Chinese customs. There you go.
Speaker 1:Oh, so this song's all about we are so.
Speaker 2:No, no, it's a different language, oh.
Speaker 3:So, like Elegant is all about Cornelius and Barnaby. They've actually met some women. They've met lovely Irene Molloy and Faye Someone Faye, that's awful, I don't know that other character and they're basically taking them out and winding them down even though they don't have any money, which also creates absolute pandemonium, but they're kind of basically going oh, we are so elegant that all these really you know, influential silver spoon people are all like you know, hobnobbing with us and bowing down to us and all the rest of it. And he sings, and the way I keep my pinky up indubitably proves why do people hold their pinky up when they drink.
Speaker 2:Do you know? The two of us had a random conversation about this the other day in the bar. Apparently it was a code within the court by holding your pinky up, it was identifying that you had syphilis. I don't know how true that is, but I'm following all this and if it came from him, it's gospel.
Speaker 3:That is the last thing I thought you were going to say. I mean, I can look it up now and just fact check that but I'll check that because. I'm not so sure.
Speaker 2:It became. But you think of all those things you think of, like the big wigs, you know, you think of these people. What was that like Renaissance times with these? Big white powder wigs that they wore. That was to hide the effects of syphilis.
Speaker 3:Yeah.
Speaker 2:So they were losing their hair and then they wore that. Then it became fashionable. So that was a way of a secret code that they had syphilis. Yeah.
Speaker 3:Why would they be advertising that fact, though? Probably?
Speaker 2:just warning others.
Speaker 3:Let me see, maybe I'll look up origin, but also indubitably means impossible to doubt. You know we are elegant to doubt, you know we are elegant for sure.
Speaker 1:We are.
Speaker 3:Do you know what? I'm just going to say it because people here listening to this, by the time they hear this episode, they're not going to be able to go and see it anyway.
Speaker 1:No.
Speaker 3:In Hello Dolly they had like a treadmill on the stage.
Speaker 1:I have done a lot of research on what you went to go and see Honest to goodness, Lauren, it was sensational.
Speaker 3:So this number, elegant as they're supposed to be walking to the Harmonian Gardens, they were walking along this treadmill and it literally looked like they were walking along the streets. They had an amazing video wall along the back.
Speaker 1:And was the treadmill right in the centre of the stage.
Speaker 3:Went from stage right the whole way to stage left. So Imelda Flippen Staunton did her first number frog marching at that treadmill, singing and acting a dream on a treadmill. Basically, Wow, At what age is she? You can fact check that in a minute too. What age Imelda Sundin is Like absolutely outstanding, Like unbelievable, and it added so much to it Because those wee transition numbers you know where they were having to get from one place to the next. It just was so cleverly used. Do you know what I mean?
Speaker 1:Very clever.
Speaker 3:Do you have what I mean Very clever? Do you have any other musical?
Speaker 1:lyrical echoes. No, they're all my musical lyrical echoes.
Speaker 3:I've got one more in so Long Deary. So basically, van de Gelder is basically at the Harmonia Gardens. It doesn't go very well.
Speaker 1:No.
Speaker 3:And Van de Gelder's like absolutely not, I'm done with this nonsense. And Dolly's like okay, stuff, you then see ya, enjoy your life. And actually from this, from that number, comes my favourite line in the whole show, because obviously Van de Gelder is rich half a millionaire, as you say and all he cares about is money like money is his number one. She goes and in those cold, as you say, and all he cares about is money Like money is his number one. She goes and in those cold winter nights, horace, you can snuggle up to your cash register. It's a little lumpy but it rings. I love that line. Anyway, that's not what I learnt. I learnt I'm going to learn the hoochie-coo and smoke a cigarette. So basically Dolly's talking about what she's going to do without Horace and the hoochie-coo. Do you know what the hoochie-coo is? It's a sexually provocative, belly-like dance from the mid to late 1800s.
Speaker 1:I think we've done that before.
Speaker 3:I'm not so sure. We have hoochie-cooched.
Speaker 1:Okay.
Speaker 3:Talk for yourself. Anyway, there we go. Did we fact check anything there?
Speaker 2:No, I mean there's a few sources that suggest that there is a connection between having the pinky out when you're drinking, that it is connected to syphilis. Apparently, one of the effects of syphilis is that it inflicts damage upon the joints particularly those of the finger.
Speaker 3:Oh, so they couldn't bend it, so perhaps it wasn't necessarily an indication that they couldn't help it.
Speaker 2:Maybe they were free of it, oh okay. So it's maybe please conduct your own research before taking the.
Speaker 3:MLL and do we know what age ML Dastanton is?
Speaker 2:42. Lies.
Speaker 3:Lies. I just plucked it out of the sky there. I can't get this stuff. I am a reliable source.
Speaker 2:Tonight I am laptop free, fair enough.
Speaker 3:That's it. I haven't ranted and raved too much, have I no? No, I'm closing my book. I am so delighted with myself.
Speaker 1:Great. So that production that you went to see was due to take place in the Adelphi, but we obviously know a little musical. Yes, that was in the Adelphi, that's right so it ended up being in the Palladium, which is a large Massive so, and they filled it.
Speaker 3:My goodness, did they fill it 68. No, there's more than 68 in the audience. Imelda 68. That woman at 68 years old, doing what she did on the stage that night was unbelievable. She is probably one of the best actresses I've ever seen.
Speaker 1:She is absolutely wonderful.
Speaker 3:And the thing about it was her Dolly was different to any Dolly I'd ever seen before, Because take the Hello Dolly number, for example right, Big number, yeah. So Dolly returns to the Harmonia Gardens for the first time since the passing of her husband and normally in any production or any film it's a big affair. She arrives and she's like I'm back, boys and it's all hello darling, and she's like it's big and like brash right, Not Imelda Staunton. It was almost like she was nervous to be there. It was emotional, it was meeting friends again after the passing of her husband. It was so tender, to the point when she came in and like this big sweeping staircase and she was just so tiny at the top of the staircase.
Speaker 1:Because she is tiny.
Speaker 3:Because she is tiny, absolutely, and you know it was very timid to start with and really measured and then it grew. Obviously, once she started to get really comfortable back in her surroundings and you know the waiters and all her friends had greeted her back so warmly, then it ended big. But the beginning was just like what? Like this is beautiful.
Speaker 1:Like it would have brought a tear to your eye.
Speaker 3:It was just like it was like, oh, this is so lovely, she's home. Like it felt like she was home, it was somewhere that was really important to her, and to be here again, but this time on her own. But she wasn't on her own because all her friends were here. It was so special.
Speaker 1:Do you know what I?
Speaker 3:mean, and it was just wee moments like that. Same with Irene Molloy that was played brilliantly by Jenna Russell, her song Ribbons Down my Back. At the beginning of that number I was like I like this, is she gonna? Because obviously it's the first time you really she. She arrives in and then she pretty much sings that number straight away when she comes into her hat shop and I was like, oh, there was something about it that jarred with me initially and I went, oh, hold on, what's going on. And you know why. It was Lauren, because she didn't sing it at you. And anytime I've seen that, you know, it's all there's. It's always a beautiful singer who gets cast as Irene Malloy, isn't it? And she sings. I'll be wearing. Do you know what I mean?
Speaker 1:it's always, always a bit, yeah, true.
Speaker 3:And Jenna Russell didn't do that, you know. It was so like talk about acting through song, like it just had truth and heart to it all. It was just beautifully done.
Speaker 1:Well, that's one of the notes that I had from the research was that's what a lot of people said that this was more of a play with music where the. The focus was on the acting and the heart story um what had, what had happened before you met these characters not necessarily what you're seeing on stage that's it absolutely so, yeah, that's interesting that you feel you seeing like perfection almost in that production and you wouldn't need to see it again, even from, apparently, the way she's hanging up her morning suit.
Speaker 3:Oh my goodness, you know at the very beginning.
Speaker 1:So you're very clear that he is still a big part in her life, even though she's choosing to go back into society.
Speaker 3:Some of the most powerful moments were those scenes where she was clearly at home on her own and they closed the stage in. It was like she was in a black box and it just had a window you know a large window and the light came through the window and cast onto the floor and within there she had a clothes rail, a like wee dressing room table and a chair. Like, it was so minimal, but what she did there was unbelievable. And then they put in a song that I had never seen before and it was basically Dolly singing about him. Do you know what I mean? And it was, it was just beautiful but like, so exposed, because there was no, it wasn't the full big Palladium stage, it was. It was brought in like a really small playing space and it just showed the caliber of of her like. But they were all brilliant, Like they were all Emengard or Ermengard who cries constantly Vandegelder's niece who just spends the whole show crying.
Speaker 3:You've never seen crying like it, genuinely like she was absolutely hilarious. It was just brilliant.
Speaker 1:It was brilliant costumes oh my goodness, costumes yeah, I've watched a lot of the curtain call and some of those costumes.
Speaker 3:Stunning. The choreography Bill Dreamer is a dream, Like just beautiful. That dancing number when Dolly teaches Cornelius and Barnaby To dance and then becomes this big dance. It was just unbelievable Before the parade passes by.
Speaker 1:Lovely.
Speaker 3:And it was like just an old school parade where you had the teachers and you had the you know, different groups of society just parading and they had their banner and there was no big song or dance to it. It was a number of marching, okay, but it was just so cleverly staged the train. When they got on the train, like unbelievable. Right, I'm sorry I've ranted and raved for three hours there. No, not at all, you know.
Speaker 1:I love it. I love it and I also love seeing or hearing how an old school musical was able to incorporate technology and things that obviously wouldn't have been around whenever they were first casting it, but still keeping a traditional musical yeah, yeah, absolutely, and I mean I've said it before I think I do have a thing for old school musicals.
Speaker 3:Do you know what I mean? I do think that's where, when we're talking about musical theater, I enjoy musical theater the most, and I don't know why. I think it's. Is it maybe just they were that? Yeah, exactly, it's what you. What I grew up on, it was those musicals that you were first introduced to. You know, it was those type of musicals that my parents loved. You know all of that To the point that sometimes some of the more modern musicals are too modern for me.
Speaker 3:Yeah, do you know what I mean. Yeah, yeah. To then go and see class on stage. You know real sophistication, like yeah, it was something I'll never forget. That's good and it's always interesting when you look around and you see the people around you absolutely captivated, like leaning forward because they're so enthralled, like that also is very special yeah, that's exciting as well, yeah that's when you know you're seeing something special. Special, yeah I love it.
Speaker 1:You talked nice about it and it's sad that it's only on for.
Speaker 3:Nope. It's on as long as it needs to be on, perfect. I'm just sorry some people won't get to see it.
Speaker 1:Yeah.
Speaker 3:Because you missed out.
Speaker 1:But I didn't I got to see it. Yeah, because you missed out, Ha ha, but I didn't, I got to see it. Could you imagine, though, if you had missed out, like we would never have heard the end of it.
Speaker 3:No, I know, yeah, I don't think it ever was. I wasn't going to be allowed to miss out on it, I think I think I had gone on about it for so long and talked about it that when the tickets came, when it was announced that it was going to happen, I I was told you have to see that, like there's no other choice. And I'm glad I listened and I went and I did see, because I don't think I'll forget it ever.
Speaker 1:Good, that is so lovely.
Speaker 3:Before the parade passes by oh my God, the music Like how could you not love Gerry Hermes' music?
Speaker 1:Anyway, it is good? No, it is good.
Speaker 3:We'll do a modern one next week, though. Okay, although we've been modern, modern, we've been mean girls, and here we've had a good wee run.
Speaker 1:We have. Do you know, what I kind of feel sad about is like that's our kind of London experience somewhere over Over. I feel like we were still sort of holding on to that fab time we had.
Speaker 3:Because we had to talk about it still on the pod and now it's like oh, it's well and truly over. What wonder we'll pick next week?
Speaker 1:I know, like I feel I'm kind of conflicted Like what are we going to do?
Speaker 3:What are we going to talk about? Do you know? I literally don't have a title in my head, so you're going to have to make the next decision here.
Speaker 1:I'm going to have to dig deep here to try and think what we'll talk about. And do you know what the scary thing is? Soon, we're going to have to be talking about Christmas musicals.
Speaker 3:That's ridiculous.
Speaker 1:It's not.
Speaker 3:That's. Did we not do all the Christmas musicals?
Speaker 1:last year?
Speaker 3:Or was there some still left? Oh, we've got loads left. What did we do last year? Elf and White?
Speaker 1:Christmas yeah. Oh, there are a few then there are a few We've also. We've got Halloween obviously beforehand, so we've still got some wee.
Speaker 3:I would say we've lost about 100 followers just by mentioning the word Christmas.
Speaker 1:No, definitely not.
Speaker 3:Well, come back next week, I promise you.
Speaker 1:We will talk about a musical. We're just not too sure what yet.
Speaker 3:Yeah, it won't be a Christmas one. It won't. And you know, you've listened to us for the last three weeks giving our reviews of some of the fantastic musicals that we have seen. So our reviews of some of the fantastic musicals that we have seen. So why don't you go on and give us some reviews of the fantastic episodes that you've listened to over the last?
Speaker 1:year. You're just so smart, obviously on our pod, not on other people's podcasts.
Speaker 3:That doesn't help us to be quite honest with you. No, no. And if you're wanting a Christmas present I know she's said that awful word there's always our merchandise out there Always our merchandise, I mean who doesn't want a musical lyrical lingo mug for Christmas? I hear they're crying for them all over the world, or a t-shirt.
Speaker 1:A t-shirt or a bag.
Speaker 3:Do we have a wee tote bag on there? We have a wee tote bag. Stop it. Who doesn't enjoy a tote bag?
Speaker 1:I love a wee tote bag.
Speaker 3:Even our guests come to the podcast with tote bags. I know for us, for us. We missed a trick there. We should have tote bags to give our guests.
Speaker 1:We'll do that next time.
Speaker 3:That's a good idea, but you could buy your own.
Speaker 1:You could time.
Speaker 2:That's a good idea, but you could buy your own tote bags out there Market and perspective. Have you ever priced up the cost of tote bags to get them?
Speaker 3:branded, but ours are really cheap isn't that right, ours are really cheap and, yes, very cheap.
Speaker 2:Yes, we pass the savings on to the consumers.
Speaker 1:Yes, looking out for you always.
Speaker 3:Always, always Musical theatre knowledge. Have, we have we like have we done enough of that? I think so.
Speaker 1:Great, I think. So we're all good.
Speaker 3:Although we need to record, we do need to record.
Speaker 1:I did take that off. That is honest to goodness.
Speaker 3:You see, when that comes in, every time I'm like I was just taking the mickey that day and then that became our advert for our merchandise.
Speaker 1:But also we're going to need to update our actual advert for the podcast because we're getting so popular that we need to remember to slow down. We're all over the world now that it's important that in our wee advert we slow down.
Speaker 3:Oh my goodness, there could be tote bags all over the world. On that note, we'll see you next week.
Speaker 1:Bye.
