Episode Transcript
[00:00:07] Speaker A: Hi and welcome to another what's up? Podcast. I'm Becca Martin Brown, arts and entertainment editor for the Northwest Arkansas Democrat Gazette. We are in our shiny new studio, so whatever goes wrong, it's the producer's fault, maybe.
And I am joined today by two of the cast members from the band's Visit at Theater Squared. I'm going to try this. Usman ali Mughal.
[00:00:30] Speaker B: Yes.
[00:00:31] Speaker A: Who plays Halled, and the other one's much easier. Yaya. Who plays did you tell me, Dina or Dinah?
[00:00:40] Speaker C: I told you. Dina.
[00:00:41] Speaker A: Dina.
And I got to tell you, if you know me, she's played Evita twice.
I love her already. I love them already.
[00:00:51] Speaker C: Thank you.
[00:00:53] Speaker A: So how did you end up in Fayetteville, Arkansas, doing this? What's your experience been like?
[00:01:01] Speaker C: Yeah, I don't even know how to start.
[00:01:08] Speaker B: Well, actually, they're both from New York. Yeah, my show announced closing, so the first audition I did was for this.
[00:01:17] Speaker A: What were you in?
[00:01:18] Speaker B: Life of pie.
[00:01:19] Speaker A: Cool.
[00:01:19] Speaker B: And Zai, who's the director of our show, he's the first South Asian American director that I worked with. And he said to me in the room, he was like, I've been trying to get you to audition for me for the past two years. So immediately I was like, I don't care where it's going. I'm going to go with this guy, because I was pretty dead set. I was like, New York, New York, New York. I have no reason to leave this city.
But it's been a dream role of mine to do this show.
[00:01:44] Speaker A: And then your audition said, we're going where?
[00:01:47] Speaker B: Arkansas. I know. And I tried to bargain with them because this is a co production. So we're going from Arkansas, and then we're taking it to the Writers Theater at Chicago. So I was like, could I just go to Chicago? But no. And I'll be honest, leading up to it, just because of my perception of Arkansas, I was like, what am I going to do out here? But I'm very happy to be proven wrong. There's beautiful nature, awesome people. I think one of the most exciting things that Yaya can expand upon more is like, we've seen a lot of really cool, queer spaces here, which we didn't anticipate. A lot of really exciting people of color out here and a lot of really great allies of both communities.
And the theater audiences have been soaking up the material in a way that we didn't anticipate. Obviously, the jokes about fishing will hit harder out here, but there's also the.
[00:02:36] Speaker A: Have you been fishing?
[00:02:38] Speaker B: Not out here, but I guess I have a couple of days left.
[00:02:41] Speaker A: Okay, we'll see what we can do.
[00:02:42] Speaker B: Yeah, but yeah, why don't you talk about your experience, too?
[00:02:44] Speaker C: Yeah.
[00:02:45] Speaker A: Were you just as horrified at the idea of we're going where?
[00:02:47] Speaker C: No, actually, I've been here before on the Mama Mia tour and also the Rent tour. They came through Fayetteville between the years of 2015 and 2018. And so I've been here for one week at a time twice and was really excited to come back to Fayetteville, mostly because I remembered how many vintage and thrift shops are here. And I was just so excited to buy all the things. I wanted to go everywhere and came here knowing that I was going to leave with far more material items.
[00:03:22] Speaker A: Suitcase for the trip home.
[00:03:23] Speaker C: You know, I didn't I probably should have thought that far in advance, but I'll be shipping things home for sure.
[00:03:29] Speaker A: So what is the biggest surprise about doing regional theater that you didn't expect to find?
[00:03:38] Speaker C: Yeah, I think regional theater is some of the most beautiful, precious theater that we have.
There's Broadway and it's kind of like this pinnacle, top of the industry kind of dream for everybody, but there's a paywall. There's a huge capitalist intention that drives that motor that obviously money has stake everywhere. But I think being able to come into smaller places and do smaller shows in more intimate spaces can mean so much more. Not just for the audiences and the environment and the community here, but for the actors too. I think it's really cool to be able to immerse ourselves and share a glimpse into a different kind of piece and with completely different people. And sharing collaboration in that way on a smaller scale is really amazing and.
[00:04:45] Speaker A: It also is much more open, I think, financially, I think you're right that more people can afford to see these shows and see shows that they didn't expect to see in northwest Arkansas.
[00:04:57] Speaker C: And everyone deserves the chance to see these shows that have been on Broadway, have won Tony Awards and have all these accolades and things like that. Everyone everywhere deserves to see these things and deserves access to these things.
[00:05:13] Speaker A: Tell me about the show. I have not seen it yet, so I've got to get on the move in the next show. We only have a couple. I have heard nothing but wonderful things about it, even from people who are usually grumpy and hard to please.
[00:05:27] Speaker C: I think the biggest thing, like just Blanket, which speaks to people who are hard to impress or hard to satiate in the arts, is just that. It really is just like a glimpse into the life of these people who share in music and share in presence and share in the joy of taking care of people and taking care of one another. And that's kind of it.
It's so beautiful. It's set in the desert in Israel, in this small, small town. And this Egyptian band comes and their intention is to go to this big bustling city to play in a big concert and they end up in this small desert town with no more buses until the following day and are just like presented with this kind of circumstance.
[00:06:24] Speaker A: No money, nowhere to stay.
[00:06:25] Speaker C: Correct. And these people in this small Israeli town take in these band members from Egypt.
So it's this beautiful glimpse into a moment of Arabs and Israelis taking care of each other, sharing in music, sharing in joy, in food, in levity in a twelve hour period.
Literally. It is what it is. To frustratingly quote the show. It is what it is. It just exists the way that it exists.
[00:06:57] Speaker A: How many times did you cry in rehearsal?
Oh God.
[00:07:01] Speaker C: I'm not a huge crier, but it got me a bunch. I mean, similarly, this has been a dream role, a dream show for so long, and to be able to tell a story that's so important is really amazing.
[00:07:17] Speaker B: Yeah. I think one of the most exciting themes within the show is the concept of language. So we speak Arabic, Hebrew and English, of course, but the primary, like the reason why the band ends up in the wrong town is because of language barriers.
[00:07:32] Speaker A: Mispronunciation.
[00:07:33] Speaker B: Exactly. And the one language that is universal in the show is the music. And that translates over to even an audience in northwest Arkansas that may or may not have any kind of relationship with the Middle East. The conflict that's happening right now as we speak, but are able to hear the music and hear the moments in time and be able to resonate and relate in a way that you couldn't really explain with words, truly is universal.
[00:08:03] Speaker C: Yeah.
[00:08:04] Speaker A: Are your characters musicians? Yours probably is not, but Yaya is.
[00:08:09] Speaker B: A musician and does play instruments in the show.
[00:08:12] Speaker C: Yeah, our music supervisor came up to me one day early on in the process and was like, listen, I know you're not playing any instruments for this, but how would you feel about playing at the end of the show? And so, surprise, spoiler alert, I do play the viola in the concert at the end of the show, which is really cool.
[00:08:30] Speaker B: Yeah, I'm playing one of the band members, but for the actual show, I'm playing two instruments. They're both percussion type instruments. Unlike Yaya, I don't have much of a musicianship background. I'm much more of an instrument where I'll execute the material that's given to me as opposed to creating. I mean, I've dabbled on piano and guitar, but it's only for function. So that and a lot of folks in our cast ended up having to learn different types of skills, including roller skating. We learned how to roller skate for the show and then a couple of people learned new language things for the show. So there's a lot of things that were oriented on the actual product that we came to.
[00:09:17] Speaker A: What do you speak in addition to English in the show?
[00:09:19] Speaker B: Arabic. Yeah.
[00:09:22] Speaker A: Wow. And you didn't do that before?
[00:09:24] Speaker B: No, I did, but there are a few folks who learned other languages, and the things that I didn't do that I do in the show are playing the two instruments, roller skating and being talented. I'm just kidding. Being good at my job.
No, those are the main things that I had to learn for this project. But there's a whole bunch of people learned so many other things.
[00:09:47] Speaker A: Did you have to learn anything?
[00:09:49] Speaker C: Yeah, I mean, I had never picked up a play.
[00:09:52] Speaker A: Wait, what? No, that was new.
[00:09:54] Speaker C: That was play.
In Hadestown, I cover some roles that play the violin, and so I learned that for the purpose of playing a fate in Hadestown. So I'm familiar with the stringed instrument. The viola is bigger than the violin, so it was a little bit of an adjustment. And there are different strings, but I've always kind of functioned off of, like, let me pick it up and sound things out and see what works. And so I kind of just did that.
[00:10:26] Speaker B: Yeah, but can I just say, Yaya, this weekend picked up the Oud, picked up the clarinet and a flugalhorn and played all three in the same fashion that they just described.
[00:10:38] Speaker A: Wow.
[00:10:38] Speaker B: And Mind, you, like, played parts from the show that those instruments are used to play.
[00:10:43] Speaker A: I'm going to walk out of here feeling like I'm lucky if I can walk and think at the same time.
[00:10:47] Speaker C: Listen, I never know if I'm going to be able to walk and think at the same time and stay upright.
[00:10:52] Speaker A: We're going to pause for just a minute and take a little break, and we'll be right back with you.
[00:10:57] Speaker D: If you're enjoying this podcast, consider a newspaper subscription to the northwest Arkansas democrat gazette or the river valley democrat gazette. We have a special offer for our podcast listeners, so visit Nwanline.com podcast 23 to get started. You can also click the subscribe button on our websites, nwanline.com and Rivervalleddemocratgazette.com, or call us at 479-684-5509 and be sure to say that you're a podcast listener. Now back to the show.
[00:11:25] Speaker A: Hi, we're in the studio with two of the cast members from the band's visit at Theater Squared. Oh, I have to do it again and get it right. Usman ali Mukal.
[00:11:34] Speaker B: Yes, you did it.
[00:11:36] Speaker A: And Yaya, which is much easier, he plays a member of the band. They play the restaurant owner innkeeper that welcomes this Egyptian band into an Israeli town after they sort of got lost and wound up there.
So talk to me about I know that COVID made life as an actor pretty challenging.
Talk to me about what that did in your lives, what got better, what got worse, what you learned, where it's directing the future of theater, in your opinion.
[00:12:17] Speaker C: Do you want to start?
[00:12:18] Speaker A: This is the serious part of this.
[00:12:19] Speaker B: I guess I can. I think from all actors can relate that the change of self tapes became the standard. So for anybody who may not know, we would typically go in for an audition for an initial thing. Now we tape our auditions and send them in.
[00:12:36] Speaker A: Do you love that or hate it?
[00:12:37] Speaker B: There's things I love about it and a lot of things I hate about it, as with everything. But I think the harder to sell.
[00:12:45] Speaker A: Yourself a tape, I would think.
[00:12:47] Speaker B: Yeah, but sometimes though, you're able to keep going until you get the right tape.
But sometimes you can sell your performance better by being in the space. So there's caveats to it all. I think in my personal life, right before COVID happened, I was prepping to be at a very different trajectory within my career. I was going into more of a ensemble dance world. I had a couple projects lined up that were exactly that. But taking the COVID break allowed me to refine my instrument in more exciting ways and made it so that I had to be a little bit more prepared coming into these things. And because of that, I've gone into a place in my career that I'm much more passionate about that applies more of my skill sets. And also I think having COVID makes the appreciation for what we're doing a little bit more serious. Because as short as it may seem on the grand scheme at the time, those months felt like forever.
[00:13:44] Speaker A: People really felt the loss of live performance, which is a grand and glorious thing.
[00:13:50] Speaker C: Yeah.
[00:13:52] Speaker A: So what do you consider yourself originally? Are you a dancer?
[00:13:56] Speaker B: Are you a well, I started as an actor and I think fundamentally in all the work that I do, I think I'm strongest when I bring the story to what I'm doing. But I'm a generally pretty inwardly competitive person where I want to be able to grow at every time I revisit something. So I've grown a lot as a vocalist and recently I think my focus has been dance because it was one of my weaker ones for a while. And now I realize singing is the one I need to start to focus on more. So I'm constantly balancing an incredible singer. Thank you. Nonetheless, we all need yeah, I mean, I think, as I said, inwardly very competitive, but yeah, I would say primarily an actor.
[00:14:41] Speaker C: Oh, I don't know. I feel like I've gone through so many different iterations throughout my life.
I also, though, have always primarily started with the acting, I think what's on the page, and even musically, I think what's on the page, whether it's a script or a score with lyrics or without lyrics, tells you so much about what's going on, especially if the writing is really good.
So yeah, starting with what's given and going from there.
[00:15:14] Speaker B: But let it be known that Yaya is actually the child of a jingle creator and thusly is also a jingle creator and has some amazing music that they've been making. Yeah. No, because truly have you hired him as a publicist? No, because I need people to know because I sing songs. Yeah, I sing songs that I'm supposed to sing for shows. But they and a lot of people in this cast create their own music and have a great sense of musicianship outside of being a channel of other people's work.
[00:15:43] Speaker A: Where did you start playing originally? Piano?
[00:15:46] Speaker C: Yeah, I started with piano, but I'm very much my father's child in that I hate practicing, which is why I'm not proficient on anything. But I love picking things up and noodling and figuring it out.
But we just had an amazing evening with the cast the other night where we sat around in the living room and just shared things that we're creating or working on or are passionate about that are outside of the show. And so it was like a beautiful moment to really get to know each other in new artistic ways and have an expansive appreciation for what we're all here doing and what we have to offer.
[00:16:23] Speaker A: So what are you working on outside the show?
[00:16:25] Speaker C: Oh, goodness.
Well, I'll share what I shared. I shared a couple of different projects. I write music and nothing's released yet because I'm also a very harsh self critic and nothing's good enough. But I think I really want to push myself to release some music, so look out for that.
[00:16:46] Speaker A: What style will this music be?
[00:16:49] Speaker C: That's a really good question.
[00:16:53] Speaker B: I got a combination of, like, Erykah Badu, Staves and who is the other person that they mentioned?
[00:16:59] Speaker C: I'm very inspired by Erica Badu, so very neo. Soul Realm.
Very inspired by Justin Vernon. And Bonnie Veriohead is pretty deep in the bones as well. And a lot of just like, I like my music to create an atmosphere and have a journey within that atmosphere and really a lot of mantras, a lot of grounding lyrics.
[00:17:27] Speaker A: I'm in love with both of these people. They are fascinating.
[00:17:32] Speaker C: We love you.
[00:17:35] Speaker A: So where do you go from here? What happens when this show closes?
[00:17:41] Speaker B: Yeah. Well, I guess by trade, I'm a personal trainer and a group fitness instructor, and we have a little bit of a gap in between this that doesn't give me enough time to really get that started again. So I'm going to be doing catering jobs. I'm a reader for auditions quite frequently, and then I'm actually going to be doing a development of a new musical the day after we leave here. So that'll keep me busy for about a month.
[00:18:11] Speaker A: Do you go to Chicago with this?
[00:18:13] Speaker B: New York? Oh, yes.
[00:18:14] Speaker A: So when do you go to Chicago?
[00:18:16] Speaker B: Yeah, we're going to start January 22 is our rehearsal time, and then I think we start in February. Performances.
[00:18:22] Speaker A: Yeah, second week of February collaboration with.
[00:18:24] Speaker B: It'S the same exact production. As far as the team goes, the only difference is, like, the in house hires, so, like, people backstage and people who are running the show. That's what?
[00:18:35] Speaker A: The Chicago Rep Writers Theater? Yeah.
[00:18:38] Speaker C: Writers Theater? Yeah.
For me, I took a leave of absence from Hadestown on Broadway to come and do this.
[00:18:47] Speaker A: Oh, my.
[00:18:48] Speaker C: Yeah. I have been with the show. I booked Hadestown pre Pandemic and had three days of rehearsal. And then on the third day, the pandemic hit. And so I spent like 18 months wondering whether I was ever going to be on Broadway or not, or eat again or do theater again.
Luckily, I was asked to come back and reopen the show with the Broadway company, which is incredible, but I'm not going to sugarcoat it and say that it's this cotton candy bubble cloud of Broadway dreams. You know what I mean? It's a very difficult industry. I have a lot of responsibilities in the role that I have in the show, and I was very much in need of a break and some time away from the city. I'm very easily overwhelmed by crowds of people, tall buildings. I grew up in Florida, so I need the just like it came at exactly the right time. So when I go back, I won't be going back to Hadestown between these productions. So I'll have actually ample time to really rest and take care of myself in ways I haven't really been able to in a long time.
But after we're done at Writers Theater in Chicago, I'll go back to Hadestown.
[00:20:15] Speaker A: So talk about the difference between a week in the life of an actor in a Broadway show and a week in the life of an actor at Theater Squared.
[00:20:26] Speaker C: Wow.
We can both answer this in different ways, but in Hadestown on Broadway, I am a swing. So I'm off stage every day unless I'm needed to go on for someone who's out for one reason or another.
[00:20:42] Speaker A: And you don't know who that someone might be. How many do you cover?
[00:20:45] Speaker C: Nine.
So I cover all five of the ensemble workers, all three of the fates and Eurydice, and I'm also one of the dance captains.
So what that means let's take like a seven day week, right? So our days off are Mondays. If we're rehearsing a new principal into the show, I'm allowed to rehearse on Tuesday. So we've got an eight show week Tuesday night, two Wednesday, Thursday night, Friday night, two Saturday matinee Sunday as is, regardless of rehearsals. Then as a dance captain, whoever we'rehearsing and putting in for understudy rehearsals or whatever, I can be called from 1230 to 430 Tuesday, Thursday, Friday, which means by 1230 on Tuesday, it's already 05:30 P.m. On Sunday, which is an exaggeration. But not much of you need a lot of rest. And I have a hard time. Something that I'm really trying to work on is finding and making the time for the things that fuel me and make me feel like most myself.
But I, in the last two years, have really, really struggled with exhaustion and post COVID brain fog and symptoms. And I'm also in the process of getting an ADHD diagnosis and understanding the intricacies of mental health and depression and anxiety amidst a schedule like that where so much is required of you and you might not know what you're supposed to do that day up until five minutes before the show starts or at intermission. So that's kind of what how do.
[00:22:25] Speaker A: We even get time to eat? I'm assuming they don't cater dinner for you.
[00:22:29] Speaker C: No, not TV and film. No, I don't.
[00:22:33] Speaker A: TV and film. That's not much either. Right.
[00:22:36] Speaker C: I do a lot of buying a lot of groceries and then throwing them away two weeks later because I didn't have time to make them. But also spending money on delivery all the time. So feeding myself out of necessity.
But yeah. So, conversely, complete opposite end of the spectrum, theater squared. And doing a run of shows. Here we have seven shows.
We've really not had any daytime rehearsals. I'm playing a main character and don't understand. I have one job, basically.
And so it's really been like, yes, I finished at Hadestown and came straight here. And we started right away, so there wasn't really a break. But it's felt so rejuvenating to be here in the sun and the trees.
[00:23:28] Speaker A: Are you staying in one of the apartments?
[00:23:31] Speaker C: No, I'm a couple of blocks away.
[00:23:32] Speaker A: Okay, but you can still but I'm right here.
[00:23:34] Speaker C: Oh, yeah. It's been so rejuvenating and so refueling artistically and mentally, emotionally and communally in so many ways. Yeah.
[00:23:47] Speaker A: So what has the experience been like for you compared to what you're used to? You're not teaching all day, of course.
[00:23:53] Speaker B: Well, actually, when our show was running, I was on stage, but I was basically functioned as an on stage swing. So I covered four roles, but had an on stage responsibility. But it got to a point where it was also because I was in a play. Right. Not a musical, different responsibilities. And because of that, I just had to be able to do certain lifts every night. And I became a junkie for just doing as much as I could in the day. So Broadway Dance Center was down the street. In between rehearsals, I would go to take a class like I would be going to the gym. I packed my days to the brim and the accessibility of New York, of being able to do all these things. And I would just eat in between scenes during the show. Right.
I loved that life.
But coming out here and being able to breathe for a moment has been really nice. My cats are happier, too, because I can see them more frequently.
[00:24:50] Speaker A: They're with you?
[00:24:50] Speaker B: Oh, yes.
[00:24:51] Speaker A: Cool.
[00:24:52] Speaker B: Had to bring them both and yeah. I think, similarly, having a moment to breathe in the sun is huge. I think also the audiences are a big shift where there's typically, like, a stage door and there's people who would come to you after a show. But the Broadway world can be has a lot of fanaticism in it. And there's a little bit of like, when you put somebody on a pedestal or put them below. You both are dehumanization, and there's a lot of that that happens in an industry like Broadway. What's really nice about being out here is people will initially come out with the, oh, my God, were you in the show? You're amazing. And it's very easy to disarm them and be like, let's have a real conversation. Tell me what you really thought about the show. Yeah. And while it's you may have lunch with them that way, and it's not like a stage door experience like it is in New York, but the moments that you do catch somebody who saw the show, it's a much more, like, meaningful connection, I find.
[00:25:44] Speaker A: I'm so proud. I'm feeling so proud of Fayetteville. So ten years from now or 20 years from now, when you think back to doing the band's visit in Fayetteville, Arkansas, what will you yaya.
[00:25:57] Speaker C: Who.
A lot of things, I think a really big one, is that this is the regional premiere of this show. It has never been done off of Broadway or off the original production of the tour, which my sister was on, by the way. So this is a really amazing thread.
[00:26:17] Speaker A: Is there anything you don't do or haven't done?
[00:26:22] Speaker C: I'm afraid to drive very artistic family, but being able to jump start and usher in this era of regional versions of this production is really incredible because.
[00:26:35] Speaker A: You will always be the first actor in that role.
[00:26:37] Speaker C: Yeah. I'll also always be the first trans actor in this role. I'll also always be the first person to have the role itself who comes from Iraqi and Israeli descent and comes from a lineage that speaks all three of these languages and has such firm roots in the setting of the show, which I think is just so incredibly special.
Yeah, that's what I'll think about. Yeah.
[00:27:12] Speaker B: For me, I mean, obviously, the show has a lot of history in my life, but we could have been doing like Annie Get Your Gun or Oliver. I don't care. It's the people who I met here. Zai. This is my first of many times working with him. I've been wanting to work with him for a while. I met so many people on this contract who came to me at a point in my life when I didn't know I need them as much as I do now. And Yaya, who's become, like, one of my closest friends.
And that's what a lot of the shows in my past where I met some of my best people are. It's never really about the material. It's more so about the community. And that's why even though our pay is not as great and we're not getting fed as, you know, we're starving. Yeah.
Having to spend the time with these people is the thing that I'll keep with me the longest.
[00:27:59] Speaker A: But that's why community theater actors do community theater for no pay.
[00:28:04] Speaker C: Absolutely.
[00:28:05] Speaker A: Because I remember laura Hightower in a you stay friends with people forever. You two are obviously going to be friends forever.
[00:28:18] Speaker C: Absolutely.
[00:28:20] Speaker A: So do you want to talk about being the first trans actor in the sure.
[00:28:26] Speaker C: Yeah.
I think it's something that Zai said to me in my callback work session was and that made me so happy to hear, is that there's so much of this play that is so intrinsically queer, that was not tapped into in the original production. And being able to flesh that out and experience and just even night by night, show by show, discover more moments of like, oh, that's so queer.
Throughout, the whole thing has been so fulfilling, so amazing. And I've only been and may shape.
[00:29:05] Speaker A: The future of the show.
[00:29:07] Speaker C: Absolutely.
And I think what's really amazing is it's so easy to get the rights to a regional production of a Broadway show and want to do exactly that same structure, that same costume design, the same thing, and put what was on Broadway in a town. And I think what was so beautiful about this is there are so many ways that we stepped out of that in the humans that are cast in this, in some of the ways that we use the environment and the way that things were staged and the way that we use the things that we have on stage with us. Some are amazing, some are experiments, but that's what theater is. And I've always only ever been the only or one of two. And there are three of us trans people in this cast. And theater squared itself is just full of queer and trans people. And I couldn't be more happy about that. Day one, we introduced everybody, and I was like, oh, my God, there's so many of us here. It's incredible.
Yeah. And I think taking a role that is so dina is so inherently feminine. Not in how she looks, necessarily, not in how she dresses, necessarily, but just in this almost warrior like power that she exists within.
[00:30:35] Speaker A: And it feels very warrior nurturer.
[00:30:38] Speaker C: Yeah. And I find such gratitude and power in existing in the body and experience and identity that I exist in, and finding that strength in pockets of masculinity, in pockets of androgyny in pockets that span across the binary for every single kind of audience member that might come through. And so that's been really incredible and fulfilling.
I don't know, just amazing.
[00:31:12] Speaker B: And they wear a really cool vest in the show.
[00:31:14] Speaker C: Yeah, it's from a men's vintage three piece suit. It's so good. If you want to see the vest, come see the vest before Sunday.
[00:31:25] Speaker A: And that brings us to the fact that you need to come see this show no later than Sunday. Showtime is. Where's my notes? There they went.
[00:31:33] Speaker B: Well, I could tell you 730 every night. And then we're going to be doing a 02:00 P.m. On Saturday. And our final show is 02:00 p.m.. On Sunday.
[00:31:41] Speaker A: He's so good. This is all happening at Theater Squared in Fayetteville. Tickets start at $20.
Come see these two.
[00:31:49] Speaker B: And let's get a drink afterwards in the lobby.
[00:31:51] Speaker C: Yeah.
[00:31:52] Speaker A: And talk about life, the universe and everything.
[00:31:54] Speaker C: Absolutely.
[00:31:55] Speaker A: Thank you so much for being with us.
[00:31:57] Speaker B: Thank you.
[00:31:57] Speaker C: Thank you for having us.
[00:31:58] Speaker A: This has been another what's up? Podcast. I'm Becca Martin Brown, arts and entertainment editor for the Northwest Arkansas Democrat Gazette. Sam.
