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Video: Gideon Glick Cooks Up a New Book- Give My Swiss Chards to Broadway
May 17, 2024
Gideon Glick is telling us all about his delicious new project- Give My Swiss Chards to Broadway, a Broadway-lover's cookbook! Watch the full video interview.
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0:00
Welcome to Backstage with Richard Ridge
0:02
I'm at the legendary Drama Bookshop on West 39th Street, and you know my guest from such shows as Spring Awakening
0:09
Little Shop of Horrors, and To Kill a Mockingbird. And TV fans know him from The Marvelous Mrs. Maisel
0:14
and the other two. Well, now he is the author of a brand new cookbook
0:18
with Adam Roberts with illustrations by Justin Squiggs Robertson called Give My Swiss Chards to Broadway
0:26
Please say hello to Gideon Glick. Gideon, I am thrilled to be sitting with you here
0:31
I'm thrilled to be here. At the beautiful new Drama Bookshop. It's absolutely stunning
0:36
I know, right? Yeah, I haven't been here enough. I've been here a couple times, but I feel like I need to come here more
0:40
Well, now that you're an author. Now that I'm an author. How does that feel when you hear that name
0:44
like that word, oh, Gideon Glick, author. It doesn't really register. I'll be honest, it doesn't
0:50
It doesn't. You know, it was interesting, we were talking about it. When the book came and I opened it up
0:57
it wasn't really seeing my name that really excited me. It was seeing this tangible thing
1:03
that we had worked so hard on. And seeing it come to life was really thrilling
1:08
And it just put a fire under my butt. Yeah. Well, I love it
1:12
The book is sitting right here. It's called Give My Swiss Chards to Broadway
1:15
You co-wrote this book with Adam Roberts. I did, yes. And the illustrations are by
1:20
Justin Squiggs Robertson. Exactly. So take me back to, first of all
1:24
how excited are you? Like you said, you opened it. I mean, it's gotta be really cool
1:28
It's so cool. It is so cool. It's not anything I ever thought I would even do
1:33
So that's what's even odder and stranger. It sort of happened during the pandemic
1:39
I was a little bored, as we all were. And I started tweeting about the idea of a kid's book
1:46
that followed a Broadway star who's a pizza named Bernadette Pizza. And then people started tweeting about it
1:54
And we started talking about different ideas like a bacon lane or these kind of food ideas
2:01
with Broadway. And then my friend, Adam Roberts, who is an incredible chef, a food blogger
2:07
and a really, really incredible writer, we started talking about that idea. And then it kind of sprung to life out of there
2:13
We thought, okay, well, let's not do a kid's book. Why don't we do a cookbook that is an homage
2:18
to the great white way? And thus, Give My Swiss Chards to Broadway was born
2:22
Okay, so first of all, just so you hear noise in the background, it's a working bookshop
2:26
It's alive. The barista is doing their thing, making Broadway lattes and everything else here
2:31
So I'm sure they'll love to come up with a name like a Broadway latte
2:35
Chicago, we could do. Oh, okay, see. There you go. So you know, there's gonna be another book
2:40
You know that. Well, if the folks buy enough of them, maybe there will be another book, fingers crossed
2:47
A children's book with Bernadette Pizza. Oh, that will always be close to my heart
2:51
Well, trust me, that's your next book coming down the line. Just so you know
2:54
So how did you and Adam meet? Social media, just on Twitter
2:59
He started following me, I started following him back. I really liked his tweets
3:02
He wrote on The Real O'Neill. He's a really good, good writer
3:06
I knew his partner, Craig Johnson. He's a director. I was a fan of his work
3:11
And then we just became friends. Okay, so how did the two of you write the book
3:15
when you're co-authors? Yes. Authors? Authors, oh yes. No, okay. But did you write together on Zoom
3:22
Yes, yes. We were meeting all the time. We, it all really started
3:27
and especially before we were like, are we gonna do this or not? It started just us coming
3:31
like texting each other back and forth, just puns, recipe puns. And we were really just
3:36
it was kind of a bomb during the pandemic to have that, because it would really crack ourselves up
3:41
And then we got to like a hundred or so, and then we culled it to 75
3:46
and then we culled it to 50. We picked our favorite ones. And then out of that
3:50
we started expanding, going inside and say, okay, what kind of recipe will this be
3:58
And obviously, Adam is the chef. And so that was, he took a lot of the brunt of that
4:03
But like, for instance, Chicken Breast Side Story, we wanted it to be evocative of the musical
4:08
So it's chicken breast, which is a great American dish. And then we have
4:14
it's pineapple marinated. And we have plantain. So we wanted to have Puerto Rico and America
4:22
like the Jets and the Sharks. So we wanted it to feel like the musical as well
4:26
I love this. Yes, there's a lot of thought that went into it. And then obviously, then we got Justin Squeaks Robertson to come in
4:32
Cause you know, a lot of cookbooks have photography, and we felt like photography doesn't work for this
4:39
This is about imagination. It's about creativity. It's theater. We wanted it to be like
4:45
we wanted to have a vitality. And the first person I thought of was Squeaks
4:49
And we asked him and he came on and he really like makes the book sing
4:53
I mean, he really just like gives it a life force that is, we're so thrilled about
4:58
So it's broken up into like appetizers? Yeah, so we have appetizers with a Z
5:03
We have soups and ballads. We have main dishes. We have side by sides and sweets charity
5:13
So, you know, people are going to have like weekly parties now. Where they invite people over and say
5:18
we're going to do these themed nights, right? They're really good dishes too
5:23
They are, they're good recipes. They are, they range from easy to complex
5:28
but they're not, this isn't, it's a fun cookbook and it's, you could read it just as a book
5:34
but this also is highly functional. These are really, really good recipes
5:38
Okay, so like I said, the West Side Story one, you could put the original cast album on
5:42
or any album. The many versions of West Side Story and cook
5:47
Well, that is the goal. So we have inside each recipe, something called cooking notes
5:52
which obviously are ways to help like, you know, extra tips. And then also we call them listening notes
5:59
So there's trivia about the shows and also perhaps not all of them have it
6:04
but songs to look out for. Cause this is, we hope that this is for people who obviously
6:10
love musicals and know musicals, but we also, if you don't know musicals
6:14
we hope that this is something that could help you learn about them. So this is more than a cookbook
6:18
It's multifaceted. I love that. A multifaceted book. Now, before we went on camera
6:24
I asked you, do you cook? Yes, and the answer is no, I don't
6:29
I don't really cook. My husband is the chef and that's kind of why it's very funny
6:34
that I ended up making a cookbook. It's kind of ironic and my husband likes to make fun of me for it a little bit
6:40
And he's like, why are you writing that book? But I have cooked a good amount
6:44
My husband has cooked even a more amount of the recipes. And so what's good is I kind of thought for me
6:51
if I can do it, then it's idiot proof. So there we go
6:55
But it must be really great like when he cooks something for you at home from the book
6:59
Oh yeah. He made three penne opera a couple of days ago and it was delectable
7:03
Did you listen to one of the cast albums, maybe Raul Julia or Virgil Madeleine
7:08
I mean, I don't think he did. I don't think three penne opera is in his register
7:16
Bea Arthur was in that originally. I didn't even know that. Ed Asner, Jerry Orbach
7:21
In three penne opera? Wow. Lenya Lavallenya is actually the only person
7:26
that has won the performance Tony award for an off Broadway performance. See
7:31
We're learning things. We're learning things and it's probably in the book. It is in the book. It is in the book
7:36
All right, so, you know, oh, you're going to do a signing here. Yes, we're doing a signing
7:41
We're doing a signing here October 6th. The book comes out October 4th. You can pre-order it now
7:45
but the signing's October 6th, I think 7 or 7.15 to 8.30
7:50
Here at the drama bookshop on West 39th Street. Just go to their website and it's really cool
7:56
You hear the barista going at it. You can have any kind of coffee or anything else done while you're here
8:00
but they have everything here. I mean, the books here are absolutely amazing. It's amazing
8:04
I keep getting distracted because I go, I want to read that book. I want to read that book. I know, I watch your eyes catch up
8:08
Oh my God. The Ted Chapin book, Everything Was Possible, Follies. There's stuff everywhere to catch your eye
8:13
Free for all. Did you read Free for All? The Joe Patton one
8:17
Oh yeah, where it all started. Yeah, totally. I mean, you know
8:21
who knows if there'd be a Hamilton? Yeah. You know, without someone like Joe Patton
8:25
Yeah, I agree. You know, early on with everything he started. So like, I'm so thrilled about this
8:29
You know, we have a lot of your other, like your career is sitting in front of us
8:32
My career in books. It's so cool. And they're all available here and where? The drama bookshop
8:37
The drama bookshop. But you know, I mean, I want to talk to you. You and I have never spoken about Spider-Man
8:42
Turned Off the Dark. And I saw the show numerous times during previews
8:46
and after it opened. So tell everybody, you were part of the geek chorus
8:50
Yes, we were the geek chorus, like a Greek chorus. We would, we were a group of four
8:53
that would kind of come together to tell the tale of Spider-Man
8:58
And you were Jimmy Sixx? I was Jimmy Sixx, yes. How did they give you that name, Jimmy Sixx
9:02
All of our names, and I unfortunately don't remember the other geeks' names, but they all came from the comic book lore and mythos
9:11
So they're all characters. So we appropriated the names because we felt akin to them
9:16
And that was our, those are our geek, our geek Spider-Man names. Well, the audience loved
9:20
when you all came out during this show. Did they? Yes, they did
9:24
And I knew you already. I was like, oh my God, Gideon's going to come back on again. But I mean, when you look back at Spider-Man now
9:31
how do you, what's your take on that? The time you worked on it, working with Julie
9:35
I mean, it all kind of feels like a fever dream, right? Because I did, I think we did like three
9:38
or four months of previews. And then when Julie, when they decided not to continue with Julie
9:45
they wrote our parts out as well. And so it was, you know, three or four months is kind of
9:50
that's a run. Yeah, exactly. That's an actual run. So it's weird to have done like a full run
9:55
but not made it to the finish line. But it was, we're usually team, we're like, what
10:02
Come on, that is, it's a gift, a gift. I look back on it still with so much pride
10:09
that I got to work with someone like that, an artist like that. Well, I mean, the first time I met you
10:13
was in the original press room down at the Atlantic Theater. Oh my goodness
10:17
For that first press day, when you kids were so young at Spring Awakening. So young
10:21
No one knew anything. Nothing. I mean, when I talked to you all of them, you were all afraid you were going to be let go or something
10:26
I mean, I've talked to Jonathan and Leah and you, I was afraid like. Well, I think we had no concept of what it was
10:32
It's interesting because we did the, we did that reunion concert and then the documentary
10:37
And so there was a lot of, obviously, we reflected a lot
10:41
And I don't think I understood until then how young we were
10:47
How profoundly young we were. And to have that kind of experience
10:51
such an anomaly of an experience. How life-changing was this show? I mean, because you have a family now
10:58
I mean, it's not just a group. You were a family that is staying together. Well, here's what's interesting also
11:03
You asked how life-changing it is. But again, at that age, I don't know if I could even perceive it as life-changing
11:11
Because that was, it was so early in my life. So it's really just a part of my life
11:16
I wonder if like we did a Spring Awakening at like 35. That I think I'd have far more concept of a before and after
11:23
If it was Spring Awakening, I don't have that. Which is funny. But looking back on it now
11:28
you realize how career changing, some life changing. Yeah, totally. Yeah, seismic, yeah
11:33
So you created the role of Ernst. I did, yes. Do you remember your call back
11:36
or when you got the call saying you had this? Yeah, well it was interesting because originally I was up for Moritz
11:41
And so like I was part of that. And that's when I met Leah and Jonathan and John Gallagher
11:48
Because we kept being paired off with each other. And then Gallagher got it and it was incredible
11:55
And then I thought I was done. I thought, okay, so it's over
11:59
And then they did a workshop. And then I think they changed some of the cast members
12:03
And then I came back in. And then I got the part of Ernst
12:08
And then I didn't have a place to stay because I was a senior in high school
12:13
And I was living in Philadelphia. But I met Leah during the audition process. And she said, why don't you come live with me
12:18
So we lived together for the off-Broadway run. And I only really knew her
12:22
because of that whole pairing system, yeah. So what was it like, the two of you being roommates
12:27
I love that. It was that wild. I mean, we were kids
12:31
True kids. I don't think she was even, how old was she
12:36
I mean, I was 17. I think she was maybe 1920. I mean, we were kids and living in a studio
12:42
We lived in a studio together. That's crazy, I love it. It was like summer camp
12:46
It was truly like summer camp. Who cooked? Neither. Come on now
12:53
We took takeout home. We did a lot of takeout, yeah. Because I knew her when she was like this big
12:59
Like a la Ragtime. Oh, Ragtime, Les Mis, all that stuff. So I've watched her
13:02
We've been friends forever. So I'm thrilled that she's back on Broadway now. Oh my God, I've seen it twice
13:06
All right, I'm going. Oh, get there. No, I'm going. We're going in like a week or two
13:10
Pretty amazing. My husband's like, get me to Funny Girl with her. I'm like, don't worry, it's happening, we're going
13:15
But I just love that you met, and then you were roommates then. I know, I know
13:19
The world is strange and odd. I mean, it's, again, you say it's like family
13:24
It is like family. You are connected by this bizarre event that like, no matter what
13:31
it's because it's such an anomaly, nobody has that experience but you guys
13:36
And we were kids. Yeah, you all went through it together. Yeah, and I've said this before
13:41
It's like you don't have a, at that point, you don't really have a network of people
13:45
At this point, I have the people that I've met and I've many years to say, okay, these are my people
13:52
At that point, you don't have that. So those are your people, no matter what. You and I have spoken about this before
13:58
Significant Other by Joshua Harmon. Incredible play. I've been going to the theater in New York
14:04
and seeing plays since I've been 11 years old. And I've seen everybody, all the greats do plays
14:11
Your performance in Significant Other will remain one of my top 10 forever
14:15
Thank you very much. And I was gonna ask you, looking back at this
14:19
what that meant to you being a part of this and having a role that is like, I don't know
14:23
when actor meets material and material meets an actor. It doesn't always happen
14:27
It doesn't always happen. And then you get this explosion. Yeah, it's interesting when I
14:33
I was asked to do a reading of it, which I knew is sort of my audition
14:38
because it was for the roundabout, it was for everybody. And I read it and I just, when I read it
14:45
it was like this magical experience where I went, oh my God, this is, I have to do this
14:52
It doesn't happen that often. And sometimes you get it and sometimes you don't
14:57
This was a thing where I felt this like, kind of this force of nature where I said
15:02
oh, this is me. I'm going to do this. I need to do this
15:06
This is a, it spoke to me so much and I loved reading it
15:11
And I just kept reading it over and over and over again. And that doesn't always happen
15:15
You're actually excited to kind of come back to it and read it again and again and again
15:20
And then it just happened. And it was a real gift, just a gift
15:26
And what a cast. Incredible cast, incredible cast. Barbara Berry, Lizzie Mendoza, Sash Goldberg
15:30
John Bellman, Rebecca Neely Jones, Luke Smith. It just was the, it was a party
15:37
It was a true party. People always say, oh, wasn't that really hard to do every day? And it wasn't, it really wasn't
15:42
It was just, I had the best time of my life. And it was an exorcism of all these feelings too
15:49
And it just was, you know, it's interesting when you do a show that you don't leave the stage for
15:55
It's kind of like, I think of it like surfing. You just get on and then you just get off
16:00
And so weirdly, it's sometimes I think harder when you have to leave the stage
16:05
and then come back and have breaks. I actually like, or maybe I'm a glutton for punishment
16:09
I don't know. But I really like that kind of concentration that it's so concentrated and then you're done
16:15
But the emotional arc that you take in that show, it's so beautiful that you just get to continue it
16:19
and there's no stop. It's also just gorgeously written. So you don't have to do anything
16:23
I mean, that's kind of the, you don't have to push. You don't have to reach for it
16:27
You just say the words, you show up, you listen, and then it kind of takes care of itself
16:31
And that was, and that is, there's something called ecstasis, which is the Greek word
16:36
It's ecstasy, but that's to leave your body where you're just, you're not thinking, you're just being
16:40
And that's kind of what I felt doing that show. See, that's the kind of acting I saw
16:45
It's like you left your body. Well, thank you. That's really great. And Drama Bookshop said they just get this in nonstop
16:50
I love it. This just sells all the time. Yeah, I think colleges do it a lot too, especially that scene in the second act
16:55
between Jordan and Laura. I think it's a really meaty scene and it's also very universal
17:00
which I think is kind of what people responded to. One of your first big ones was Speech and Debate
17:06
Yes, yes. By Stephen Karam. I mean, favorite memory. Favorite memory, oh my God
17:10
I can't, I can't, I don't have one. I mean, I got to do, I mean
17:14
Stephen's still a really, really good friend, which is profound, but also I got to do it with my best friend
17:21
from growing up, Sarah Steele. I mean, we've been best friends since we were 11
17:25
And we grew up doing theater together in the suburbs of Philadelphia
17:29
And to get to do a play together in New York at that level was so incredible
17:38
And also at that point, I don't think we really knew what we were doing. It was instinct
17:42
We were kids. I think we were about 19. And so it wasn't craft at that point
17:47
It was just instinct. And really special. And also just an incredible play
17:53
Now you're talking about instinct. You never took acting lessons, did you
17:57
I did not, no. Wow. Yeah. I grew up doing it. Yeah
18:05
And I was a kid actor in Philadelphia. And then, you know, my senior year
18:10
I did Spring Awakening off Broadway. And then I took, I was gonna go to NYU
18:16
And I took the year off to do Spring Awakening on Broadway. And then I left to do Speech and Debate
18:20
and then go to college. And I thought, I can take a class
18:25
And I've taken the classes here and there. I just didn't do conservatory training
18:28
But I thought, okay, if I have this, a lot of money going into this
18:32
and it's a lot of time, why don't I try to do something that I know that I'll never do later in life
18:37
And so that first year, I just kind of was exploring different things
18:42
And then I really took the art history. I found it really, I responded to it
18:45
And all of a sudden, I, you know, in high school, I think I didn't have, I always wanted to do theater
18:53
And I thought, oh, I'm just gonna be an actor, so I'm gonna take it very seriously. And this was the inverse
18:56
And so I took it really, really seriously, and I really loved it. And it was important to me
19:02
And so I feel really, you know, it's a double-edged sword. We live across the street from Juilliard
19:10
and there's always this thing where I go, I should've gone to Juilliard. I should've, I should've trained
19:14
Like, what kind of actor would I be? But at the same time, there's this wealth of knowledge that I have
19:20
that I'm really, really happy that I have. And it's, I think, really helped me as a performer as well
19:24
You learned by doing and working with the best people. I've been very lucky
19:28
But you said instinct. Instinct is a humongous part of it. That's a big part of acting, too
19:32
in the point of view. It is. You have that naturally. Well, I think also not overthinking
19:37
I mean, obviously, you have to prepare, and you have to do your work
19:41
And there is that. But then there comes a point where you just have to let it go
19:44
and just let it be, and listen. And that's what you gotta do. I'm fascinated by that
19:48
But I've spoken to a lot of great people, great stars, I've never took a singing lesson
19:53
they never took an acting lesson, too. So I love that. Well, Byron Streisand. Thank you
19:57
She also didn't even consider herself a singer, which was crazy. She considered herself an actress
20:01
and then she was like, yeah, I guess I could do this. And then she started doing it. But she hadn't even trained
20:05
It's wild. But I think if you just go for something in your life, and don't listen to other people
20:10
and listen to those voices and everything else, just be. Yeah, just be
20:14
And it's a hard thing to do. I think it's also when you become myopic, too. I think that can also be tricky
20:19
So why not experience the world? I think as performers and artists
20:23
we should have a point of view, and that comes from experiencing life
20:28
I think that is more important than being career-focused, than being craft-focused, to an extent
20:34
Okay, you got Tony nominated for your incredible performance as Dill in Aaron Sorkin's To Kill a Mockingbird. Yes
20:41
I mean, I don't even know where to begin to cast you. Like, vivid memory, but I mean
20:45
there must be so many wonderful experiences. Because we spoke a lot during that
20:49
and you were like, Richie, this is just so magical. It's so magical
20:52
Honestly, getting to work with that cast, but specifically Silly, Keenan, Bolger, Will Pullet
20:57
I mean, that was, we were a real unit up there, and that was a very
21:05
to do that nightly, it's a hard show to do, and it was also, emotionally
21:10
but it was also hard to kind of traverse these adult characters and these kid characters
21:15
But we really had a volley and a language with each other that comes out of, from love, true, true love
21:22
We were happy to see each other every day. We used to cuddle underneath one of the dressing room tables
21:29
and eat candy. I mean, we were grass, we were children, but it was a really, our connection was
21:37
I have been saying profound a lot in this interview, but truly profound, and I think it's what
21:43
made us excited to go on stage every day. You would move effortlessly into film and television
21:49
and I know when you were doing Spring Awakening, you made your film debut opposite Cynthia Nixon and Ethan Hawke
21:54
Yes, yes, yes. I mean, how incredible was that? You really know your stuff, Richie
21:58
Although I've known you forever, but I mean, to have done Spring Awakening
22:02
never taken an acting class, and then to have worked on your first film
22:07
what was it like being on the set with them? Yeah, we actually did, I did the
22:11
we filmed the film before Spring Awakening. Okay. And that was, I mean, I was already
22:19
a big Sex and the City fan, so I was like, pinching myself that I got to work with Cynthia
22:25
But that was, you know, that was just, for me, it almost felt like a fluke
22:28
I'm like, what am I doing here? Because I was really, you know, I came up doing theater, not film
22:33
and I don't think I, I still think I'm trying to figure out film and TV acting
22:39
because it really is a different, it's the same, but it's different, it's a different animal
22:43
It's a really different medium, and it's about economy of your body
22:48
and the way you express yourself. In theater, you really fill up a stage
22:52
then you fill up a house, and you don't really have to filter as much. And in film and TV, it's different
22:57
Because I spoke to Jonathan Groff, and I said, Jonathan, did you grasp it right away
23:01
And he said, he made the Ang Lee movie, taking Woodstock, and it comes out of this big helicopter
23:05
in his first big scene, he said, I'm sweating in there, like, just thinking, you know, whatever
23:09
And Ang kept saying to Jonathan, less, less, less, less, and he's like
23:14
is anybody gonna hear me? He's like, yes. You know, but he said it was like for him
23:19
It is true, it is really, really true. It is a different, it's a calibration process
23:22
It's like here, right? Yeah, yeah, but if you start doing this, all of a sudden, nobody is listening
23:28
Nobody's listening. All right, The Other Two, fabulous. Yes, incredible show. As I point my fingers at you
23:34
as I throw my hand at you. The Other Two, what a fabulous series
23:38
I love that show. How much fun was that to do? It was super fun. I mean, I've never gotten to be a part of something
23:46
well, actually, no, Maisel, but Maisel came after The Other Two, but where I was a fan first
23:51
where I really enjoyed the show as a spectator. And to then get to be a part of it is so neat
23:58
because you're invested as an audience member and all of a sudden you're doing it too
24:03
But I've never laughed that much in doing anything. I mean, these are funny, funny people
24:10
And also, we have like Kalena York, who's a theater person, so it didn't feel like I
24:14
and Tash Segara, like I didn't feel like I was outside of my realm of comfort
24:19
And then Drew Tarver is absolutely incredible. And I loved, loved working with him
24:24
We had good chemistry. We got along really, really well. And then you get to work with the greats
24:28
like Ken Marino and Molly Shannon. I mean, like what a dream
24:32
I wish I could still be doing it. Okay. Take me back. Then the marvelous Mrs. Maisel
24:36
Yeah, yeah. I mean, that had to have been a magical set because you're in a whole other world
24:40
Truly, truly. And also that was, I was doing the pandemic, that was like the first job I got during the pandemic
24:49
And that was a real sense of respite and relief because again, it is this kind of magical world
24:55
It is, it's heightened and it's beautiful. It's like candy. And I got to play a weirdo magician
25:02
and I got to learn magic, which was really hard, but also gave me something to concentrate on
25:09
other than the book. And also those are theater folk. Those are people who are theater actors
25:15
Those are journeyman actors who have been in the business for a very long time
25:19
And also Amy and Dan are, they're theater folk. And we do, we call them oners
25:25
We do it all in one take. I think that that is a, it's a big part of that show
25:30
And you don't move on until you've gotten like a whole take that is like, you could
25:37
that they could print that. And they like to do it all. I think that is usually their goal
25:43
because the writing is really rhythmic. And so to break that up, you don't want to break that up
25:48
I love that. Yeah, it's a challenging set though in that sense
25:52
because it's, you know, those scripts are like, they're 90 pages for an hour long show
25:58
So it is a lot of words that you're getting out and it's, and it has a, it's like sheet music
26:03
But it's, they're theater people. Yes, and that's why they're good at it. They're on stage for the whole show
26:08
They're good at it. They know what to do. Exactly. So finally, we're sitting here with your book
26:12
I mean, just tell me what's going through your mind. I mean, it's so cool to be here right now
26:18
And to say, oh, this will be here. You know, this is, this came out of a lot of love
26:22
It's a, it's an homage to the great white way. And so it came from, you know, two authors
26:30
and an illustrator who just love theater. And it's, it's a love letter
26:36
And so there was a lot of joy that came into making this
26:39
And I think people will, the readers will see that, that it's, and not only that, but I think, you know
26:46
theater doesn't sometimes crisscross into more mainstream mediums. And this is that, this is a cookbook
26:53
This is for, it's not just for theater folk, but it's, you know, it's where two
27:00
two passions can kind of coalesce. And it's, it's just so neat
27:06
I, to see it here and to think that very soon people will have it in their hands, it really excites me
27:14
Okay, so the release date is? The release date is October 4th, but you can pre-order it now
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And then October 6th, we will do a signing here at the Drama Bookshop from 7 or 7.15 to 8.30
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And it's published by? It's published by Countrymen, which is a part of Norton Press
27:30
Beautifully done. Gideon, I could talk to you forever, my friend, just so you know that, right? Yes
27:34
All right, everybody, get a copy of the book and go to the theater. We'll see you soon
27:38
Bye guys
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