UA-198543153-1 180: RE-VIEW: Guest of Honor, Joe Kinosian (from Ep 128) - Review That Review with Chelsey and Trey

Episode 180

180: RE-VIEW: Guest of Honor, Joe Kinosian (from Ep 128)

RE-VIEW ALERT: Special Guest Episode with Joe Kinosian – Revisiting Episode 128 of Review That Review 🎭🎶

Step back to November 15, 2023, as we RE-VIEW Episode 128 of Review That Review! The Queens welcome special Guest of Honor, Joe Kinosian, for an episode that dives into the world of musical theater composition and podcast theme song creation. Together, they rate and review a painful 1-Star Yelp review for NYC’s legendary karaoke bar, Marie’s Crisis. Joe shares insights on composing your favorite tunes, being a multi-AWARD-nominee, and navigating a world where tourists review your musicals on TripAdvisor. Plus, can YOU cry while judging? 👀

Episode 128 Highlights:

  • Marie’s Crisis Review: The Queens and Joe tackle a scathing 1-Star Yelp review for the iconic NYC karaoke bar—ouch! 🎤
  • Behind the Music: Joe Kinosian talks about composing the show’s theme song, his journey in musical theater, and the challenges of public reviews. 🎶
  • Queendom Question: Can you cry while judging? Find out what the Queens and Joe have to say! 😢

Timestamps:

  • (19:04) Marie’s Crisis Review
  • (35:45) Exclusive Offer
  • (41:30) Do You KiKNOWsian This Broadway Opening?
  • (01:03:34) Joe’s Advice

Follow Joe Kinosian: @JoeKinzo on Instagram. Learn more about Joe & Kellen Blair’s writing partnership at KinosianAndBlair.com, and license your own production of Murder For Two at ConcordTheatricals.com!

Enjoyed the episode? Don’t forget to rate and review us on Apple Podcasts, Spotify, or wherever you listen. Your support really helps! 🌟

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About the Show:

Review That Review is an independent podcast produced by Trey Gerrald and Chelsey Donn. Sound design and editing by Trey Gerrald. Cover art by LogoVora. Theme song by Joe Kinosian, sung by Natalie Weiss. Voiceover by Eva Kaminsky.

Transcript
TREY GERRALD:

Dun N N DUN.

TREY GERRALD:

Babies!

TREY GERRALD:

It's time to Review Review That Review, Episode 128, which aired on November 15th of 2023.

TREY GERRALD:

What was that beautiful ditty I was just singing?

TREY GERRALD:

Well, obviously it's the masterpiece written by Joe Kinosian.

TREY GERRALD:

And today's review is one of our most favorite Guest of Honor episodes where we got a lot of insight from our guest, Joe Kinosian.

TREY GERRALD:

Enjoy, and don't forget to give us five stars on Apple Podcasts, Spotify, or wherever you listen and share with a very beloved friend.

VOICEOVER:

Everybody's got an opinion, Every Californian and Virginian, It's so hard to tell who to trust and who to ignore, Someone's gotta settle the score., Trey and Chelsey will help you choose, Whose views win which ones lose, Online haters are coming for you, Baby, it's time to Review That Review!

CHELSEY DONN:

Hello

TREY GERRALD:

Oh my god, hello and welcome to Review That Review.

TREY GERRALD:

We are the podcast that is dedicated to reviewing

TREY GERRALD:

That is Chelsey Donn.

CHELSEY DONN:

And that is Trey Gerald.

TREY GERRALD:

And when we come together, we are

CHELSEY DONN:

the Review Queens.

CHELSEY DONN:

Y'all, we are so excited and happy today because this week we've got a very special guest.

CHELSEY DONN:

We have a special guest of honor.

CHELSEY DONN:

So

TREY GERRALD:

every so often, we'd love to invite a special guest of honor onto the show to share some of their experiences dealing with online reviews from their unique position.

CHELSEY DONN:

With their expertise, we have them don their Review Queen crown and help us inspect the an online review.

TREY GERRALD:

And today, you guys, we have Joe Kinosian!

VOICEOVER:

Joe, we did it!

CHELSEY DONN:

Joe is the writer and composer of and frequent performer in the musical Murder for Two, which won Chicago's Jeff Award for Best New Musical and earned Joe a Jeff Award nomination for Best Leading Actor before opening Off Broadway.

CHELSEY DONN:

The Off Broadway production of Murder for Two earned, what, a Drama Desk Drama League and Outer Critics Circle Award nominations and went on to a two year national tour.

CHELSEY DONN:

Murder for Two has since been performed all around the country as well as internationally in Japan, Korea, England, Argentina, Brazil, Mexico, and Australia.

TREY GERRALD:

Joe also wrote and composed the musical It Came From Outer Space with longtime writing partner Kellen Blair, which had its world premiere in Chicago last summer and will hopefully be seen again soon, wink wink.

TREY GERRALD:

Joe was also the writer composer and performed 15 historical characters on history comedy podcast Let's Start a Coup.

TREY GERRALD:

Exclamation mark.

TREY GERRALD:

Which is an iHeartMedia original, excuse me.

TREY GERRALD:

As an actor, Joe's performed regionally in plays like An Act of God and his dream role, the title character in The Nerd.

TREY GERRALD:

Joe also does the best Miss Piggy impression beside of Frank Oz, which we're going to have to hear a little later.

TREY GERRALD:

But all of you listeners definitely know the name Joe Kinosian.

TREY GERRALD:

Subs by www.

TREY GERRALD:

zeoranger.

TREY GERRALD:

co.

TREY GERRALD:

uk for his work as the composer and lyricist of our very own theme song!

CHELSEY DONN:

That's right!

CHELSEY DONN:

I mean, how could we be more in your debt?

VOICEOVER:

I mean, every,

CHELSEY DONN:

every single time I listen to that song, I get excited and it's my show, which is, I don't know what that says about me, but like, I love it so much and I'm so grateful for you.

CHELSEY DONN:

Like, I felt a

TREY GERRALD:

little nervous because we always dance to the song.

TREY GERRALD:

Yeah, having Joe in the room, I felt nervous.

TREY GERRALD:

Anyway, that was a long time for Joe to sit quietly.

TREY GERRALD:

So without further ado, we've got to welcome our very special guest of honor, Mr.

JOE KINOSIAN:

Joe Kinosian.

JOE KINOSIAN:

I'm so happy to be here.

JOE KINOSIAN:

And, um, yeah, I love that song too.

JOE KINOSIAN:

We had, we danced to it while we were in the recording room with, uh, with Natalie.

TREY GERRALD:

Yes.

TREY GERRALD:

Oh,

JOE KINOSIAN:

incredible.

JOE KINOSIAN:

What?

JOE KINOSIAN:

Wait,

TREY GERRALD:

so let's go back to 20.

TREY GERRALD:

Um, what was that?

TREY GERRALD:

2021, maybe?

TREY GERRALD:

Yeah.

TREY GERRALD:

And what was your thought when we reached out to you?

TREY GERRALD:

And, and what did you think?

JOE KINOSIAN:

No, I was so excited.

JOE KINOSIAN:

And I feel like what inspired the song was the cover art because you had that first.

VOICEOVER:

Yeah.

VOICEOVER:

And you

JOE KINOSIAN:

sent me that, you know, that beautiful, it's like black with the neon.

JOE KINOSIAN:

And I was like, Oh, that looks like very sort of.

JOE KINOSIAN:

80s LA like palm trees and sunsets and it was like I thought of the band the cardigans you know of fame so I was like that sort of like surfy 80s vibe It's amazing.

JOE KINOSIAN:

It's

CHELSEY DONN:

so good.

CHELSEY DONN:

I just still remember listening to the first ever recording that you sang, and I was obsessed.

CHELSEY DONN:

Like, even, I mean, obviously, Natalie brings the like, all the sparkle and the glitter and the riffs, but I just will never ever forget that moment of listening to that recording.

CHELSEY DONN:

So thank you so much for this beautiful.

CHELSEY DONN:

Trey.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

Do we thank you're so welcome and I'm I'm honored to have done it and to be here But you know Trey what we should have pulled up is you remember you sent me like your lyrical idea brainstorm Yes And it was kind of the shape of what the song became but it was like just like phrases much

TREY GERRALD:

better.

TREY GERRALD:

You're much better Patreon members will know that we Maybe six episodes ago, reviewed for a 100th after show, one of our dress rehearsals, and it was us playing that demo recording.

TREY GERRALD:

So if you're on Patreon, you actually get to hear Joe's demo.

TREY GERRALD:

So

CHELSEY DONN:

fun.

TREY GERRALD:

But Joe, we're so glad that you're here.

TREY GERRALD:

And we want to like get into the nitty gritty of reviews.

TREY GERRALD:

So we're curious from your point of view, as someone who has created musicals from the ground up, And as someone who is a performer, who gets constantly critiqued and reviewed, like how do reviews affect you as a creator, as an artist, all of that?

JOE KINOSIAN:

Well, you know, you, you don't want to give them as much credit as you sort of have to.

JOE KINOSIAN:

And I'm thinking of, That, you know, there's the professional reviews, like the ones in the papers, and then there's the, you know, just the people who are talking online.

JOE KINOSIAN:

And I feel like I've gotten pretty good at ignoring people online.

JOE KINOSIAN:

I just try to stay away from the comments or, you know, have if friends have like read the comments, like, I can ask them, were they good or should I stay away from this one?

JOE KINOSIAN:

But yeah, but, but the, the critics on the papers, I think you just have to, they're serving their purpose.

JOE KINOSIAN:

And so you were saying I've gotten musicals from the ground up and I have twice, but in between those two were six that never even went anywhere.

JOE KINOSIAN:

So it's like the act of getting the one all the way to the stage and then just have some critic be like, I didn't really see what they were going for.

JOE KINOSIAN:

It's just like, It can be so demoralizing.

JOE KINOSIAN:

So

CHELSEY DONN:

yeah,

JOE KINOSIAN:

generally try to stay away and then also try to tell myself they have a purpose, even if that doesn't necessarily apply to the work you're doing or trying to do.

TREY GERRALD:

Can you feel a distinction between The madness of voices online versus the professional critics paid for a newspaper

CHELSEY DONN:

like a New York Times type article

JOE KINOSIAN:

you know, my knee jerk is certain things I've done that have gotten like like really positive comments from people online and sometimes the The masses are more positive, weirdly.

JOE KINOSIAN:

We wouldn't necessarily think of that where I think professional critics have to maintain some level of, uh, dispassionate disconnect.

JOE KINOSIAN:

Like they have to be a little bit too cool to, you know, just heap praise on something because it's rare that, you know, they do that overwhelmingly.

VOICEOVER:

And

JOE KINOSIAN:

I think for me too, like I write silly stuff.

JOE KINOSIAN:

I'm putting silly stuff on stage, like hopefully well crafted, well executed, silly stuff.

JOE KINOSIAN:

But like, That's not necessarily fodder for the critics to like, you know, lose their minds, except for, uh, the New York Times did really like Murder for Two, but that's, you know, that's just a separate thing.

JOE KINOSIAN:

Well, and that felt really good, which is like, I feel like I shouldn't say that, but then we heard that review and obviously they were, you know, quoting it in the papers and every or on the poster rather.

JOE KINOSIAN:

And that was like, uh, I'd be lying if I said that wasn't like, Oh my God.

TREY GERRALD:

Did the Times review it when it was in Chicago?

TREY GERRALD:

No, um, the Times just reviewed it when it was in New York.

TREY GERRALD:

So, what was that process from the overwhelming response in Chicago to how many years passed before it transferred, or before it went to Off Broadway?

JOE KINOSIAN:

Well, interestingly enough, this is actually very applicable to what we were saying.

JOE KINOSIAN:

The reviews, when we opened in Chicago, were not super positive.

JOE KINOSIAN:

We were supposed to run for five weeks.

JOE KINOSIAN:

And I remember after the reviews came out, particularly one, uh, famous Chicago paper that shall remain nameless, but was featured heavily in the sitcom, Perfect Strangers.

JOE KINOSIAN:

Uh, that like the audiences were, there were like 20 people there the night after that.

JOE KINOSIAN:

And I was like, Oh, so, you know, They got us, like, we're done, but people who came and saw the show liked it and started posting about it on TripAdvisor, of all things, love

CHELSEY DONN:

that,

JOE KINOSIAN:

and it started to climb the ranks of TripAdvisor, and then at one point during the summer, we were like above the aquarium, and I almost wanted to write in, like, you should go like, Or do

CHELSEY DONN:

both, like, do both.

CHELSEY DONN:

We're not competing with the aquarium, but I think that that's an interesting point, and I think it's something that came up a little while ago when the whole Martin Short article came out that was really damning, and then the public and the internet and whatever you want to call it, Was really able to come to his defense.

CHELSEY DONN:

And I do think that's sort of fascinating.

CHELSEY DONN:

Like so often we look at these reviews on the internet as these trolls and horrible haters, as we say in our song, but the opposite also exists, right?

CHELSEY DONN:

Like, Like you said, you got this bad review, but the public made it so much more popular than it was able to transfer off Broadway.

CHELSEY DONN:

So screw that guy, right?

CHELSEY DONN:

So there is something interesting about that balance,

TREY GERRALD:

I think, especially in the culture we're moving into, because now you go see a Broadway show and they literally have poll quotes that are like, Twitter user handles.

TREY GERRALD:

Like it's not even Brantley.

TREY GERRALD:

Well, it's not going to be Brantley, but like we are in a culture where oftentimes the, like all of these huge record breaking Broadway musicals, like were almost universally reviewed very poorly.

TREY GERRALD:

It's like the crowds that love them.

JOE KINOSIAN:

Yeah, no, I was thinking about we have seemingly all forgotten Wicked opened right when I moved to New York and Wicked got really lack to reviews, like Average is best and that's of that amazing 2003 season.

JOE KINOSIAN:

Like all those iconic shows that have stayed with us and Taboo, which was a lot of fun.

JOE KINOSIAN:

Uh, Yes.

JOE KINOSIAN:

Like.

JOE KINOSIAN:

Wicked's the one still doing like, still standing, yeah,

CHELSEY DONN:

and they recouped their money like faster than I think any other Broadway show, like they broke so many records, I do wonder if a part of that is because that time being like the advent of Facebook and this sort of social media, social influence world, Yeah,

TREY GERRALD:

I have one more follow up question.

TREY GERRALD:

I also want to just explain anyone who has not heard of the musical Murder for Two.

TREY GERRALD:

It is a two hander musical.

TREY GERRALD:

That means two actor singers who also play the entire score.

TREY GERRALD:

So they're both Classically trained pianists.

VOICEOVER:

Oh, wow.

TREY GERRALD:

And the show is a murder mystery where there's the detective is one actor.

TREY GERRALD:

The other actor is all of the suspects.

VOICEOVER:

That's so cool.

TREY GERRALD:

And Joe like created the show with Kellan Blair and played all of the suspects in Chicago.

TREY GERRALD:

The show went on to off Broadway and Joe has done iterations of the production across the country.

TREY GERRALD:

So is there a distinction?

VOICEOVER:

It

JOE KINOSIAN:

was at the Geffen, right?

JOE KINOSIAN:

It was

VOICEOVER:

at the

JOE KINOSIAN:

Geffen in 2015.

JOE KINOSIAN:

Yeah,

VOICEOVER:

but that was before I knew you.

VOICEOVER:

But

TREY GERRALD:

because you, Because you've done the show so many times, like when you're doing a production in like Wichita, You're not, you're not reading the reviews anymore,

JOE KINOSIAN:

or are you?

JOE KINOSIAN:

No, so I got my, my equity card in 2009, and that was the last time I really read reviews.

JOE KINOSIAN:

Interesting.

JOE KINOSIAN:

Because there was one review that, it wasn't even mean, it was just like mildly disappointing.

JOE KINOSIAN:

Disparaging about like how I was not as important as the other actors, which was true.

JOE KINOSIAN:

. . CHELSEY DONN: You're like, facts.

JOE KINOSIAN:

Okay, . I was like,

JOE KINOSIAN:

yeah, but it like, it, it hurt me in a little, in a, in a way that I was like, oh, I'm gonna, I'm gonna stay away from these.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

This is why people say, to stay away from these.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

And since then I've, I've kind of been able to.

JOE KINOSIAN:

To not, uh, not follow them.

TREY GERRALD:

But when you're mounting a show and producers are truly treating these reviews like they're gold, because it has a huge impact on the livelihood of the production.

TREY GERRALD:

They're the ones dealing with all of it, right?

TREY GERRALD:

Like you can sort of not have to deal with it because they're going to look.

JOE KINOSIAN:

That's right.

JOE KINOSIAN:

And, and that's why they come up.

JOE KINOSIAN:

And that's why I know that, uh, the Chicago reviews were what they were because it was like, It was in the, the ether.

JOE KINOSIAN:

Like, yeah, it was coming, it was coming at me even if I didn't see it directly.

JOE KINOSIAN:

Uh, yeah.

JOE KINOSIAN:

And then they producers often will, will find a way to like, hopefully if they're, they're caring and, and trying to, you know, genuinely improve the production of reading all of the reviews to distill what's really universal or like what is a recurring theme that should be addressed in

VOICEOVER:

rewrites.

JOE KINOSIAN:

And, um, Yeah, but I don't know.

JOE KINOSIAN:

It's just so funny.

JOE KINOSIAN:

Like you just you have to get your foot in the door so that you're like beyond that, because I think so few people really do really don't care about them at all levels.

JOE KINOSIAN:

You know, it's just like you do your thing.

JOE KINOSIAN:

We'll do ours.

TREY GERRALD:

Okay, but you just mentioned rewrites, and I'm curious.

TREY GERRALD:

Also for the podcast, Let's Start a Coup.

TREY GERRALD:

When you get these repeated opinions, did you start to think, Oh, maybe Murder for Two should be less silly?

TREY GERRALD:

Should we try to write a song that isn't as silly?

TREY GERRALD:

Or are you thinking, okay, when I'm going on to season two of Let's Start a Coup, should I try to change something about myself?

JOE KINOSIAN:

Yeah, I mean, Kellen and I writing Murder for Two together, we have a good sense of what we're going for and what's in line with that goal and what's not.

JOE KINOSIAN:

And I remember the Times review of Murder for Two when we originally opened pointed out one Segment that was, it was a line that got cut between the nonprofit, uh, and then transferring to the commercial production.

JOE KINOSIAN:

Mm-Hmm.

JOE KINOSIAN:

, because it was in two theaters in New York.

JOE KINOSIAN:

Oh my God.

JOE KINOSIAN:

I forgot about that.

JOE KINOSIAN:

The Pizza Hut line . And we came in after the review came out and we had this dumb line about Pizza Hut.

JOE KINOSIAN:

It really was stupid.

JOE KINOSIAN:

And the review pointed it out.

JOE KINOSIAN:

And the producer said in the next meeting, like, well, the times did not care for the pizza hotline.

JOE KINOSIAN:

And we thought about, we're like, yeah, that is kind of dumb.

JOE KINOSIAN:

So we caught it.

JOE KINOSIAN:

We caught it and caught it.

JOE KINOSIAN:

We caught it and cut it before it transferred to the commercial production.

JOE KINOSIAN:

So I guess in that sense, it was like, okay, we didn't change the whole tone of the show to be a, Brechtian drama because, you know, someone didn't get the point, but someone who did get the point was like, you can do better than that.

JOE KINOSIAN:

And we probably could.

JOE KINOSIAN:

Yeah.

TREY GERRALD:

Well, on the flip side of these reviews, how impacted is your personal decision making by online reviews?

VOICEOVER:

Um,

TREY GERRALD:

like, do you look at reviews ever

JOE KINOSIAN:

for like restaurant?

JOE KINOSIAN:

Well, I'm the wrong person to ask because I go to like three restaurants and I know they're great because it's they're the only three

CHELSEY DONN:

restaurants I go to, So what you're saying is you trust no one, Trust yourself, Chelsey don't tell you I'm wearing a

JOE KINOSIAN:

tinfoil hat right now, If you've

CHELSEY DONN:

been there and you

JOE KINOSIAN:

can outwear it yourself, you're going, I guess, Is it hypocritical if I look at Yelp then?

JOE KINOSIAN:

What do you think?

JOE KINOSIAN:

Is it hypocritical?

JOE KINOSIAN:

You Yeah,

CHELSEY DONN:

I don't know.

CHELSEY DONN:

I mean, I look at Yelp all the time.

CHELSEY DONN:

I also ignore the haters.

CHELSEY DONN:

I don't, I feel like I exist on all ends of the spectrum.

CHELSEY DONN:

And I think that that's what's so great about what Trey and I do and what we'll get into when we get into the crowning of this review is we're really are breaking down.

CHELSEY DONN:

Like you said, some people have really negative things to say, but that doesn't mean that I'm not going to go.

CHELSEY DONN:

That doesn't mean that it's a deal breaker for me.

CHELSEY DONN:

That might mean that actually Like your producer was saying might end up being a positive, right?

CHELSEY DONN:

Like we read a review a couple weeks ago about a hayride and the person was like, not that scary.

CHELSEY DONN:

And I'm afraid of my own shadow.

CHELSEY DONN:

So I was like, that is excellent.

TREY GERRALD:

That's my hair.

CHELSEY DONN:

That's my hayride.

CHELSEY DONN:

You know what I mean?

CHELSEY DONN:

So, so I do think that there's, there's something and like, if I

TREY GERRALD:

am the child of the person who created dominoes, I'm going to love that line about Pizza Hut because Pizza Hut a show.

TREY GERRALD:

Right.

JOE KINOSIAN:

That's right.

JOE KINOSIAN:

Yeah, maybe it's like the general tenor thing, like kind of how, you know, the producers, smart producers will kind of get the median feedback from the reviews that came out and then say, okay, they're all saying that this part is unclear or whatever it is, and maybe that's Yelp too.

CHELSEY DONN:

Yeah.

CHELSEY DONN:

I think that the hardest thing is being branded with like that three and a half stars and just having people completely write you off.

JOE KINOSIAN:

Mm hmm.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

Wait, Chelsey, can I say one other thing that I love when you read my bio, how you were like, um, blah, blah, blah, blah, blah, award nominations.

JOE KINOSIAN:

You did it exactly right, which is nominate, award as loud as you can be, and the nominations like, I'm moving on, moving on, and over here.

JOE KINOSIAN:

Listen,

CHELSEY DONN:

because I get it, you know what I mean?

CHELSEY DONN:

Like, it's an honor to be nominated, you know, it's just an honor to be nominated.

CHELSEY DONN:

The rest of it is who knows what.

TREY GERRALD:

But like, how many people Have been nominated for a Drama Desk Award for a musical.

TREY GERRALD:

I mean, it's insane.

TREY GERRALD:

It's like, yeah, there are these like seven players who are always produced.

TREY GERRALD:

How do you write a musical period and then get nominated for a job?

TREY GERRALD:

I mean, it's fucking insane.

TREY GERRALD:

Regardless.

TREY GERRALD:

It really is.

TREY GERRALD:

That's really

JOE KINOSIAN:

well,

TREY GERRALD:

Joe.

TREY GERRALD:

We're glad that you're here and you are officially crowned and inducted into the So you are now officially a Review Queen.

JOE KINOSIAN:

The only award

TREY GERRALD:

that matters.

CHELSEY DONN:

Joe, our most newly crowned Review Queen, I am going to be reading a review and together you, me, and Trey are going to break it down, rate the impact of the review on a scale from zero to five crowns.

CHELSEY DONN:

It is a very regal process that we call Assess That Kvetch.

TREY GERRALD:

So Joe, one final question.

TREY GERRALD:

Are you ready?

TREY GERRALD:

Yes!

TREY GERRALD:

Bring it!

CHELSEY DONN:

Review That Review!

CHELSEY DONN:

All right, today we're going to Yelp for this review.

CHELSEY DONN:

This is a place that holds a special place in my heart.

CHELSEY DONN:

I don't know about you, but it is called Marie's Crisis.

CHELSEY DONN:

Oh, yes!

CHELSEY DONN:

It is a piano bar in New York City.

CHELSEY DONN:

It's a historic piano bar.

CHELSEY DONN:

According to Google that draws a crowd of gay locals and musical theater performers in dimly lit digs, which I always think about this place as yes, being very dimly lit, but then they have those rainbow like Christmas lights.

CHELSEY DONN:

It's a vibe, you guys.

CHELSEY DONN:

It's a vibe.

CHELSEY DONN:

It's such a vibe.

CHELSEY DONN:

When I was living in New York, I personally went to this place several times a week, so I'm gonna just go ahead and say that bias out loud before we get started.

CHELSEY DONN:

Maria's Crisis only has three and a half stars.

CHELSEY DONN:

It's a vibe.

CHELSEY DONN:

On Yelp.

CHELSEY DONN:

Now, obviously, that's not my opinion, right?

CHELSEY DONN:

So this might stop some people from going.

CHELSEY DONN:

I don't know if this particular review will have that effect.

CHELSEY DONN:

So let's find out together.

CHELSEY DONN:

This is a one star review written by Adam L.

CHELSEY DONN:

of Marie's Crisis Piano Bar in New York City.

CHELSEY DONN:

Here we go.

CHELSEY DONN:

This place is a joke,

CHELSEY DONN:

a bunch of vapid and elitist Singers

CHELSEY DONN:

that exemplify what is wrong with the Broadway crowd,

CHELSEY DONN:

These sub par chorus actors will make you feel bad for being there, Because you're not a regular.

CHELSEY DONN:

This gatekeeping bullshit is ridiculous.

CHELSEY DONN:

The whole time I was there, dot, dot, dot, dot, dot, I was just like, Oh, honey, you may be able to carry a tune, but you're still a nobody, end quote.

CHELSEY DONN:

Marie's crisis encourages this elitist behavior to make sure that they're drunk, unsuccessful, unhappy, musical theater rejects, come back, day in and day out.

CHELSEY DONN:

It's called stroking their teeth.

CHELSEY DONN:

Egos.

CHELSEY DONN:

Oh,

JOE KINOSIAN:

okay.

CHELSEY DONN:

And it's working.

CHELSEY DONN:

Failure leads to drinking and drinking leads to profit.

CHELSEY DONN:

I came in the bar, a huge musical theater fan, but I came out questioning if I even wanted to like it.

CHELSEY DONN:

What a shame.

CHELSEY DONN:

A place can do this to someone I've loved.

CHELSEY DONN:

Since a child.

TREY GERRALD:

Wow.

CHELSEY DONN:

Do you think this is Adam Lambert?

CHELSEY DONN:

No

TREY GERRALD:

one would be rejecting Adam Lambert from singing.

JOE KINOSIAN:

Oh my God.

JOE KINOSIAN:

Listeners, you need to find a way to see Chelsey Read That Review because her Her body completely changed and you embodied a very angry man.

JOE KINOSIAN:

It was great.

JOE KINOSIAN:

Thank you.

JOE KINOSIAN:

Thank you.

CHELSEY DONN:

Well, Patreon plug there if you want to see the video performance.

TREY GERRALD:

Well, that was so funny.

TREY GERRALD:

So Joe, what are your first, what's there for you?

TREY GERRALD:

Have you been to Marie's Crisis?

TREY GERRALD:

You have, yes.

TREY GERRALD:

Oh, just a couple of times.

JOE KINOSIAN:

I

TREY GERRALD:

mean, Chelsey was like, do you think, do you think that he's ever been?

TREY GERRALD:

I hope that he's

VOICEOVER:

been.

JOE KINOSIAN:

I was like, I feel certain that

TREY GERRALD:

he's,

JOE KINOSIAN:

he's been.

JOE KINOSIAN:

I have, I have so many thoughts.

JOE KINOSIAN:

I don't know where to begin.

JOE KINOSIAN:

I wrote down a few keywords, like elitist.

JOE KINOSIAN:

Marie's Crisis is like the cheapest bar for like 10 square miles.

CHELSEY DONN:

Yeah.

JOE KINOSIAN:

I, unless the drink prices went up since I was last there.

JOE KINOSIAN:

I don't think I've been there post season.

JOE KINOSIAN:

Lockdown, but I certainly was there in 2019.

JOE KINOSIAN:

Like,

CHELSEY DONN:

and also go and get a beer.

CHELSEY DONN:

You don't wanna like mess with

JOE KINOSIAN:

the Yeah.

JOE KINOSIAN:

Elitist.

JOE KINOSIAN:

I mean maybe he's meaning like elitist, like leaving people out.

JOE KINOSIAN:

But like I thought

TREY GERRALD:

elitist as in getting able to sing a song, not the alcohol.

TREY GERRALD:

Well you have to

VOICEOVER:

tip,

JOE KINOSIAN:

put a tip in the jar, put a tip in the jar and get there early.

JOE KINOSIAN:

Like, yeah.

JOE KINOSIAN:

That's my main thing is like time of day for Marie's Crisis Get

CHELSEY DONN:

there when they open.

CHELSEY DONN:

You can have Marie's Crisis to yourself if you're gonna go on a Tuesday night,

JOE KINOSIAN:

Chelsey knows, Correct, She knows

CHELSEY DONN:

because she's done it,

JOE KINOSIAN:

Many times, You can do most of the score of Annie if you get there with just your friends, I've done all of Hairspray, One with

CHELSEY DONN:

Michelle, You know,

JOE KINOSIAN:

I mean, uh, It was very funny, especially the way you did it.

JOE KINOSIAN:

But like there, there was an, a lot of self hatred in this review, like this is someone who has some,

CHELSEY DONN:

this is someone who didn't get cast in the chorus in high school.

JOE KINOSIAN:

And like you go in there and yeah, it's, it gets really crowded and the floor was last cleaned.

JOE KINOSIAN:

When Marie ran out, so sticky and it is dark, but dark and cheap and loud can be real pluses if you're in the right frame of mind, sinking the score to Chicago can be such a joyous, I agree.

TREY GERRALD:

Well, because I'm sort of getting a story of Adam, Adam keeps separating themselves from the musical theater community.

TREY GERRALD:

So it sounds to me that Adam is a fan of musical theater, heard that this is a place to like be amongst them and then really felt alienated.

TREY GERRALD:

So

CHELSEY DONN:

And you know what?

CHELSEY DONN:

I want to validate that for one second for Adam.

CHELSEY DONN:

Yeah, I can too.

CHELSEY DONN:

I will, I will say that when I first went now, luckily I went with a regular, which I think is a really nice bridge.

CHELSEY DONN:

If you have a friend that goes to Marie's all the time and you're thinking about dappling, go with them because that helps.

CHELSEY DONN:

But there is this feeling of like, It's sort of like a cheers for gay people and musical theater enthusiasts.

CHELSEY DONN:

So, if you're not in the place where everybody knows your name, you're probably gonna feel uncomfortable until you get over that hump.

CHELSEY DONN:

But I do think that this review has value in the fact that, yeah, there is a little bit of that In crowd vibe.

CHELSEY DONN:

I do think that Adam takes it a little bit far and I don't think that Adam was trying to be funny.

TREY GERRALD:

Yeah, yeah.

TREY GERRALD:

Well, wait, I want to back up just for anyone who has, doesn't know what Marie's Crisis is.

TREY GERRALD:

Marie's Crisis is this tiny, tiny, tiny little hole in a wall bar that literally has a piano player that has like an extended like top that Like, you can put, like, drinks on.

TREY GERRALD:

He's, like, locked inside of this little, like, square.

TREY GERRALD:

The piano player will play scores to musicals.

TREY GERRALD:

You can, like, sing.

TREY GERRALD:

It's like a loud piano bar.

TREY GERRALD:

That's really strictly musical theater.

TREY GERRALD:

I think it is only musical theater.

TREY GERRALD:

Yeah, so that's what Marie's Crisis is if you don't know what it is.

TREY GERRALD:

But I did write down the word vapid, which I just googled just to make sure I was correct.

TREY GERRALD:

And the definition from the Oxford Dictionary of vapid is offering nothing that is stimulating or challenging.

TREY GERRALD:

And their sentence is, ironically, tuneful, but vapid.

TREY GERRALD:

Musical comedies.

TREY GERRALD:

Wow.

JOE KINOSIAN:

Is that weird?

JOE KINOSIAN:

That's the example that they gave you?

JOE KINOSIAN:

That's their sentence that they used.

JOE KINOSIAN:

So it's like, insubstantial.

CHELSEY DONN:

Does it say underneath it, like, example by Adam L.?

CHELSEY DONN:

He's like, let me take this to Oxford, you know?

TREY GERRALD:

To your point about humor, I don't know.

TREY GERRALD:

I also don't think that Adam is intending to be humorous.

TREY GERRALD:

There's something.

TREY GERRALD:

It's Really hurt, kind of sh really exceedingly shady to like Yeah.

TREY GERRALD:

Sort of a, we, I feel like we crossed over to like really inappropriate, I mean, it's very funny.

CHELSEY DONN:

What's, what's the Broadway crowd?

CHELSEY DONN:

What do we think that is?

JOE KINOSIAN:

I don't, how do you define it?

JOE KINOSIAN:

I, I feel it's not, I don't know.

JOE KINOSIAN:

I don't know that it's like people working in theater who go there.

JOE KINOSIAN:

It's just people who love it.

JOE KINOSIAN:

That's what I think too.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

And I think the love of it is more, it overpowers the vapidity.

JOE KINOSIAN:

Yeah, I would agree.

JOE KINOSIAN:

But, is that real?

JOE KINOSIAN:

Look that one up.

JOE KINOSIAN:

Um, yeah, no, y'all are very insightful.

JOE KINOSIAN:

I also don't think for the record that he was trying to be funny.

JOE KINOSIAN:

It was like, it definitely came from a place of hurt and being left out.

JOE KINOSIAN:

And that's not good for anybody.

JOE KINOSIAN:

Right?

CHELSEY DONN:

Yeah.

CHELSEY DONN:

It is funny, but I think that that's like a side effect of what feels to be this really intense ostracized feeling.

TREY GERRALD:

And I think that's funny.

TREY GERRALD:

It lands funny to me because I've actually felt that way at Marie's Crisis.

TREY GERRALD:

Yes.

TREY GERRALD:

Because I don't, I hate karaoke.

TREY GERRALD:

So it's just a nightmare to begin with.

TREY GERRALD:

But when you're there and it's super busy, it's really hard to get a song played because there's all of the regulars.

TREY GERRALD:

But I also recognize.

TREY GERRALD:

I'm a visitor here, so I don't know that I would have such a visceral, like, angry reaction.

CHELSEY DONN:

So, at Marie's, are there solos?

CHELSEY DONN:

Yes.

CHELSEY DONN:

Are they usually the waiters who work there?

CHELSEY DONN:

Yes.

CHELSEY DONN:

So, a lot of the songs are sung as a group, right?

CHELSEY DONN:

We're all singing this song together.

CHELSEY DONN:

So where I'm a little bit confused with Adam and him being such a musical theater stan until this moment, as he claims to be, what is he talking about with the gate keeping or, The judgment, right, of the other people singing, like, Oh, you may be able to carry a tune, but you're nobody, honey, like, what, like, what are you getting at?

CHELSEY DONN:

When you go to Marie's Crisis, you're there to sing with everybody.

CHELSEY DONN:

And maybe you're going to have to sit through, you know, Janet, who was on Broadway in 1975.

CHELSEY DONN:

So I love her work,

VOICEOVER:

love her work, love

CHELSEY DONN:

her, like Maggie Worth.

CHELSEY DONN:

Who was not there anymore, who was there for like a million years.

CHELSEY DONN:

She wore a Canadian tuxedo every single day in the summer.

CHELSEY DONN:

It was Canadian tuxedo with shorts and the winter was Canadian tuxedo with pants, either way, both stretchy.

CHELSEY DONN:

And I really appreciated it.

CHELSEY DONN:

And the woman was a star nowhere, but she was a star at Marie's.

CHELSEY DONN:

And I think that if you're going to come to this place, With that kind of judgmental attitude, it's sort of interesting that Adam is calling everybody out for being so judgmental when they were probably judgmental about him because he's sitting there being like, you're a nobody, like, yeah, in this community who is very tight knit and is sort of looking out for each other as sort of rough around the edges as they might be, they're going to sniff that out and know they're not going to want you in their house.

CHELSEY DONN:

Yeah.

CHELSEY DONN:

Yeah.

CHELSEY DONN:

Yeah.

TREY GERRALD:

Yeah.

CHELSEY DONN:

I think this is a self fulfilled prophecy for Adam.

TREY GERRALD:

Yeah, I think, Joe, you picked up on that in the first comment.

TREY GERRALD:

It does feel a lot of, like, self hatred as, like, underlining this.

TREY GERRALD:

Do you think this is typical?

TREY GERRALD:

Do you think, like, this is a common experience going there?

JOE KINOSIAN:

I think if you went, I'm curious what time of day or what, what day of the week he went, obviously he went in like later at night, he must have

CHELSEY DONN:

gone like a

JOE KINOSIAN:

Saturday, Saturday night.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

And it probably, it was like, they were pulling requests, but there were a lot of requests in the hat already.

JOE KINOSIAN:

And the regulars who are there.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

When they intersperse their songs, they don't even have to ask what that person's gonna sing, because Janet always sings Skid Row, parentheses, downtown.

VOICEOVER:

So

JOE KINOSIAN:

there is that like a pre existing relationship, and I think you have to have a little bit of love and respect for the regulars.

JOE KINOSIAN:

I think it's like when you go into a place like that, it's like, it's, it's their home.

JOE KINOSIAN:

It's their community.

JOE KINOSIAN:

It's almost like you're a straight person going into a gay bar, which in this context, maybe that is exactly what's happening.

JOE KINOSIAN:

But like, That level of like, okay, I'm visiting.

JOE KINOSIAN:

I want, like, I want to respect what's been predetermined already, if that makes sense.

CHELSEY DONN:

Totally.

CHELSEY DONN:

What do we think about the business advice that Adam decides to land at the end?

CHELSEY DONN:

It's working.

CHELSEY DONN:

Failure leads to drinking and drinking leads to profit.

CHELSEY DONN:

Like, thank you for that.

CHELSEY DONN:

Where's that coming from?

CHELSEY DONN:

Well,

TREY GERRALD:

I think we talked about this early on because I don't necessarily think that the people working on Broadway are going to Marie's Crisis on a normal basis.

TREY GERRALD:

So, I think the people are there out of joy.

TREY GERRALD:

They're singing out of joy.

TREY GERRALD:

I don't think they're singing from a place of failure, in my opinion.

TREY GERRALD:

But does failure lead to drinking?

TREY GERRALD:

Probably.

TREY GERRALD:

And does drinking lead to profit?

TREY GERRALD:

I think so, right?

TREY GERRALD:

Bars are very, bars aren't going anywhere.

TREY GERRALD:

But that does feel, it does feel emblematic.

TREY GERRALD:

It does feel like an outsider coming in and on the outside.

VOICEOVER:

Yeah, exactly.

VOICEOVER:

Yeah.

VOICEOVER:

Sing Waving Through a Window.

VOICEOVER:

You'll feel better at home.

CHELSEY DONN:

I know.

CHELSEY DONN:

I know.

CHELSEY DONN:

I

VOICEOVER:

also,

JOE KINOSIAN:

this is the road that led him to discover he didn't like musicals.

JOE KINOSIAN:

Well, it's a much cheaper road than going to see a show.

JOE KINOSIAN:

And much cheaper You got a beer, you probably heard at least one song you liked, you got a Heineken, you got a lifetime of stick on your shoes you will never get off, but even that I find kind of charming, I don't know if that's weird, I'm partial to this place, so there you go,

TREY GERRALD:

I

JOE KINOSIAN:

know, Adam,

TREY GERRALD:

Adam, I hope you're okay, Do you think Adam was writing this, getting an ice cream cone at Big A Ice Cream?

TREY GERRALD:

Yeah,

CHELSEY DONN:

I think that he's writing a song called Since a Child at Big A Ice Cream next door and he's like, Since a child, I had a dream of dreams and time gone by.

CHELSEY DONN:

All

TREY GERRALD:

right.

TREY GERRALD:

So before we crown, is there, is this a deal breaker?

TREY GERRALD:

If reading this and you're from Milwaukee and you're excited to go to Marie's Crisis, is this going to have an impact on you?

TREY GERRALD:

Let I don't know.

TREY GERRALD:

I mean, if I've never been there and I'm reading reviews of Marie's Crisis,

JOE KINOSIAN:

yeah, it's a good question because I mean, I'm a kind of introverted musical theater person and maybe this would put me off, but I have to.

JOE KINOSIAN:

You were saying the reviews are pretty average.

JOE KINOSIAN:

Three and a half.

JOE KINOSIAN:

Three and a half

CHELSEY DONN:

overall.

CHELSEY DONN:

That's

JOE KINOSIAN:

too bad.

JOE KINOSIAN:

I

TREY GERRALD:

know.

JOE KINOSIAN:

That really is too bad because it's a special place.

JOE KINOSIAN:

But also maybe it's

CHELSEY DONN:

good because it keeps the Adams out.

CHELSEY DONN:

But who's writing a

JOE KINOSIAN:

review of Marie's Crisis?

CHELSEY DONN:

I should.

CHELSEY DONN:

I really should for all the times I went.

JOE KINOSIAN:

This kind of makes me want to write one.

JOE KINOSIAN:

Right?

JOE KINOSIAN:

Just say everything right.

JOE KINOSIAN:

Let's get that up to

CHELSEY DONN:

a 3.

JOE KINOSIAN:

8.

JOE KINOSIAN:

We're going to have some moments.

JOE KINOSIAN:

And they're working so hard.

JOE KINOSIAN:

It's so hard.

JOE KINOSIAN:

It's a live piano player who can do literally anything you want.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

How do you get that job?

JOE KINOSIAN:

And

CHELSEY DONN:

they're talented.

CHELSEY DONN:

They're really talented.

CHELSEY DONN:

You know, like they have to be so good to be able to play all this music and

JOE KINOSIAN:

adjusting keys.

JOE KINOSIAN:

And they know that when I've had two martinis that you're never fully dressed without a smile has to be slower.

JOE KINOSIAN:

Oh,

CHELSEY DONN:

yes, they can adjust the tempo based on how many drinks you're on.

CHELSEY DONN:

Like it turns into

TREY GERRALD:

like a real stroke.

TREY GERRALD:

All right, I think I can crown.

TREY GERRALD:

Okay,

CHELSEY DONN:

let's go, let's go into the crowning and I'm going to do a little Maggie Worth impersonation in the after show.

CHELSEY DONN:

So if that's not a reason to join Patreon.

JOE KINOSIAN:

Joe, you ready to crown?

JOE KINOSIAN:

Yes, I'm writing my number really big on marker.

VOICEOVER:

Okay, perfect.

VOICEOVER:

So,

TREY GERRALD:

Chelsey, Joe, and I all have our own set of 0 5 crown cards.

TREY GERRALD:

In an effort to be fair and not influence one another, we will simultaneously reveal our rating.

VOICEOVER:

The Queens are tabulating.

CHELSEY DONN:

Okay, Joe and I are unanimous with two crowns, Trey's coming in with one and a half.

CHELSEY DONN:

Joe, you go first.

CHELSEY DONN:

Tell us why you gave two crowns to Adam Lambert.

CHELSEY DONN:

I mean, Adam Lambert,

JOE KINOSIAN:

Adam Pascal.

JOE KINOSIAN:

Well, um, listening to y'all talk about the exclusionary component boosted it a little bit for me.

JOE KINOSIAN:

Cause at first I was like, how dare you come into this semi sacred space

CHELSEY DONN:

Yes,

JOE KINOSIAN:

with no windows and no fire escape and, and tell people that they're not doing it right when all they're trying to do is express their love for this horribly marginalized art form.

JOE KINOSIAN:

That's right.

JOE KINOSIAN:

But then you think of how musical theater people, as you're saying, Trey, can be, can be a little bit like, Oh, you've never heard of the golden apple from 1954.

JOE KINOSIAN:

Nevermind, you know, or like, can't, can't talk about anything else.

JOE KINOSIAN:

So that boosted it a little bit.

JOE KINOSIAN:

And I feel for Adam and I want Adam to find his tribe.

JOE KINOSIAN:

So I raised it probably by one from where it would have been.

TREY GERRALD:

Yeah, I feel that.

TREY GERRALD:

Chelsey, why did you say two?

CHELSEY DONN:

Very similar reasoning to Joe.

CHELSEY DONN:

There was a part of my heart that just, I think, connected here with Adam.

CHELSEY DONN:

And I do feel I relate to the idea of feeling excluded.

CHELSEY DONN:

And I do think there is a A little bit of that vibe.

CHELSEY DONN:

So I think that if I did read this review prior to going to Marie's, like let's say I read.

CHELSEY DONN:

A really good five star and I read this.

CHELSEY DONN:

I think it falls somewhere in between those two and I do think there's value there and that was why I went with two crowns.

CHELSEY DONN:

But I do think this is a lot about Adam and not a lot about Marie's and a lot of sort of name throwing and a lot of bullying for someone who's been bullied.

CHELSEY DONN:

So for that reason, I couldn't go above two crowns, but I did want to throw them the two.

CHELSEY DONN:

Not quite middle of the road as Trey likes to say, but Trey went.

CHELSEY DONN:

for a full crown below Middle of the Road with that one and a half.

CHELSEY DONN:

So let us know why.

TREY GERRALD:

So I said one and a half because ultimately I just think it's really mean spirited.

TREY GERRALD:

There are some truths in here perhaps, but I think they are truths to someone that is feeling an experience of life the same as Adam, which I don't think is everyone in the world.

TREY GERRALD:

And I also just the whole assessment of a community of people when you aren't in the of people just feels icky to me.

TREY GERRALD:

And saying singers in quotes, like the first sentence or two sentences is like singers in quotations.

TREY GERRALD:

Like it's just so shady that even so I, if I agree on some of the points, this would not have like a deal breaking impact for me.

TREY GERRALD:

I would want to read other reviews.

TREY GERRALD:

So I just said one and a half.

JOE KINOSIAN:

You're making me real.

JOE KINOSIAN:

Can I tell a little anecdote?

JOE KINOSIAN:

Something my friend David and I said a long time ago, which is, We said it about gay men, but I think it's actually just true about musical theater fans.

JOE KINOSIAN:

Okay.

JOE KINOSIAN:

We're the only people who can cry while judging.

JOE KINOSIAN:

And we saw this high school production of Once on this Island.

JOE KINOSIAN:

I don't know, were they all white?

JOE KINOSIAN:

No.

JOE KINOSIAN:

We've all seen that production too.

CHELSEY DONN:

Wait,

JOE KINOSIAN:

what

CHELSEY DONN:

did you say, In My Life?

CHELSEY DONN:

In My Life.

JOE KINOSIAN:

Uh, no, uh, Once on this Island.

CHELSEY DONN:

Oh.

JOE KINOSIAN:

We can talk about it in my life forever.

JOE KINOSIAN:

It was my favorite show.

JOE KINOSIAN:

A machine pork

CHELSEY DONN:

alone.

JOE KINOSIAN:

So, this production of Once on this Island was performed by high schoolers who had survived Hurricane Katrina.

JOE KINOSIAN:

Yes.

JOE KINOSIAN:

Oh, wow.

JOE KINOSIAN:

So, they were, they were amazing.

JOE KINOSIAN:

They were so talented.

JOE KINOSIAN:

They did a great job.

JOE KINOSIAN:

And the audience is sobbing start to finish because you know it's so emotional that show already and then you combine it with the fact of who they were.

JOE KINOSIAN:

But then when they sing the song Ti Moune, uh, the girl playing Ti Moune said, um, now I go without one backward look when she's leaving her parents, right?

JOE KINOSIAN:

And she was facing her parents.

JOE KINOSIAN:

So I was like, okay.

JOE KINOSIAN:

You're talking about not doing a backward look while you're looking backward.

JOE KINOSIAN:

So I've like tears running down my face, but I'm like, that's not the text.

JOE KINOSIAN:

Well,

VOICEOVER:

that's

CHELSEY DONN:

going to be emotional, but I'm also like, who, what would like,

CHELSEY DONN:

What was the director thinking?

JOE KINOSIAN:

If you were in that production, let's think you did a great job.

JOE KINOSIAN:

I was just like a one choice.

JOE KINOSIAN:

I would have, you know, had a quibble.

CHELSEY DONN:

That's okay.

CHELSEY DONN:

That's how my mom always was when she would come see me in a show, everyone will be like, you were so great.

CHELSEY DONN:

She's like, I've noticed the mistake you made.

CHELSEY DONN:

You know,

TREY GERRALD:

it's game time.

TREY GERRALD:

Oh my goodness.

TREY GERRALD:

Here

CHELSEY DONN:

we

TREY GERRALD:

go.

TREY GERRALD:

Today.

TREY GERRALD:

I have formulated a one of a kind never existed before game specific to Joe.

TREY GERRALD:

So listeners, you're going to play along and we're going to find out together.

TREY GERRALD:

Do you Kinosian this Broadway

VOICEOVER:

Overture?

TREY GERRALD:

The name of the game is, Do you Kinosian this Broadway Overture?

TREY GERRALD:

So I have selected ten Broadway, openings, overtures, first down beats of a musical.

CHELSEY DONN:

I don't stand a chance, I'm just

TREY GERRALD:

gonna say it.

TREY GERRALD:

And Chelsey is gonna compete against Joe.

CHELSEY DONN:

You're

TREY GERRALD:

gonna be great, we're gonna get those.

TREY GERRALD:

In full disclosure, some of these songs will be a chord.

TREY GERRALD:

Okay.

TREY GERRALD:

Some of these songs will I think the longest clip I have is 35 seconds.

TREY GERRALD:

So in fairness,

JOE KINOSIAN:

I

TREY GERRALD:

originally had a concept of doing musicals for Joe and doing operas for Chelsey just so that she would really lose,

CHELSEY DONN:

but we're not doing that.

TREY GERRALD:

Okay.

TREY GERRALD:

So just in the vein of Adam L, if any of our listeners do not know Broadway Overtures from We're going to include them in the community.

TREY GERRALD:

So we're going to let all of the clips play out in their entirety.

TREY GERRALD:

But when you, Chelsey, when you, Joe, when you listener, when you know the show, you're going to shout out Kinosian.

TREY GERRALD:

Okay.

TREY GERRALD:

So that way we'll determine.

TREY GERRALD:

Who gets to go first, Chelsey or Joe, and then when the clip ends, I will ask for the answer.

TREY GERRALD:

If you are incorrect, the other contestant gets a chance to guess.

CHELSEY DONN:

Having heard the whole clip.

TREY GERRALD:

And the other person's guess.

TREY GERRALD:

So, okay, and I'm looking for the name of the show.

CHELSEY DONN:

Okay.

TREY GERRALD:

and

CHELSEY DONN:

Not the composer.

CHELSEY DONN:

I'm never gonna.

CHELSEY DONN:

No, no, no.

TREY GERRALD:

I wasn't gonna say that.

TREY GERRALD:

I'm looking for the actual title of the track of the song

CHELSEY DONN:

now.

TREY GERRALD:

So it needs to be named.

TREY GERRALD:

Okay, so some

JOE KINOSIAN:

are overtures and some are just like openings, opening numbers.

TREY GERRALD:

Correct.

TREY GERRALD:

Okay.

TREY GERRALD:

Yeah, yeah, yeah.

TREY GERRALD:

So, one more time, we're gonna be playing, Do You Kinosian?

TREY GERRALD:

This Broadway Overture for opening of the show.

TREY GERRALD:

Alright, Chelsey and Joe, are you ready to play?

VOICEOVER:

Yes.

TREY GERRALD:

Okay, here we go, number one.

VOICEOVER:

Kinosian!

CHELSEY DONN:

Oh.

TREY GERRALD:

I mean

CHELSEY DONN:

That was me, I won.

CHELSEY DONN:

I clearly I think it was

TREY GERRALD:

Chelsey.

TREY GERRALD:

Chelsey, what is it?

CHELSEY DONN:

Okay, um, that was Hairspray, and the song was Good Morning Baltimore.

TREY GERRALD:

Woo!

TREY GERRALD:

Chelsey,

JOE KINOSIAN:

you are right.

TREY GERRALD:

Woo!

JOE KINOSIAN:

Mark Shaman, composer.

JOE KINOSIAN:

Can I get partial credit?

CHELSEY DONN:

All those EPAs definitely came in handy.

JOE KINOSIAN:

Can we play this all day?

JOE KINOSIAN:

This is like the most fun I've ever had.

TREY GERRALD:

Chelsey, do you know the composer and lyricists?

CHELSEY DONN:

Uh, no.

CHELSEY DONN:

I don't know.

CHELSEY DONN:

I don't go that deep.

TREY GERRALD:

It's not part of the game, but Joe, what, who are they?

JOE KINOSIAN:

I know Mark Shaman is the, is it Scott Whitman?

JOE KINOSIAN:

That's right.

TREY GERRALD:

Yeah.

JOE KINOSIAN:

I know Mark Damon's composer.

JOE KINOSIAN:

Yeah.

TREY GERRALD:

Here we go.

TREY GERRALD:

I love that.

TREY GERRALD:

Okay.

TREY GERRALD:

Okay.

TREY GERRALD:

Get ready.

TREY GERRALD:

Here we go.

TREY GERRALD:

Number two.

TREY GERRALD:

You ready?

VOICEOVER:

Yeah.

TREY GERRALD:

Do you Kinosian this Broadway overture?

JOE KINOSIAN:

All right.

JOE KINOSIAN:

That was clearly Joe.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

That's from the Phantom of the Opera.

JOE KINOSIAN:

And I believe that is the overture, but I believe it plays after the little, um,

VOICEOVER:

A collector's piece, Yeah, there's a

JOE KINOSIAN:

scene,

JOE KINOSIAN:

Locked 666, I need to nerd out for a moment, I love that the show starts with just a long book scene,

TREY GERRALD:

I know, also it was funny to me compiling these, oh wait, you're right, because just the like synthesizer sound is such a giveaway, Oh, totally.

TREY GERRALD:

It's of the era.

TREY GERRALD:

All right, we're tied.

TREY GERRALD:

You both have a correct.

TREY GERRALD:

So here we go.

TREY GERRALD:

Number three.

CHELSEY DONN:

Wait, really?

CHELSEY DONN:

Kinosian?

CHELSEY DONN:

Is it, is it, um, is it Peter Pan?

CHELSEY DONN:

Do you have any,

TREY GERRALD:

are you guessing?

CHELSEY DONN:

Is it Peter Pan?

CHELSEY DONN:

Because this

TREY GERRALD:

ends if you're guessing.

CHELSEY DONN:

I'm guessing.

CHELSEY DONN:

I'll guess Peter Pan.

TREY GERRALD:

Joe, do you want a hint?

TREY GERRALD:

I would love a hint.

TREY GERRALD:

I don't think I get it though.

TREY GERRALD:

Well, I don't know how.

TREY GERRALD:

Just

CHELSEY DONN:

play it.

CHELSEY DONN:

You want to just play it again?

CHELSEY DONN:

I'm going to

TREY GERRALD:

play it one more time and just think.

TREY GERRALD:

This is produced a lot.

JOE KINOSIAN:

I have a second guess.

JOE KINOSIAN:

Forever Plaid.

VOICEOVER:

Is it the Nutcracker?

CHELSEY DONN:

She's the wings.

VOICEOVER:

All

TREY GERRALD:

right, let me do, let me do another hat.

TREY GERRALD:

It's the same composer as Phantom of the Opera.

CHELSEY DONN:

Oh, Little Night Music?

JOE KINOSIAN:

That's an Andrew Lloyd Webber show?

JOE KINOSIAN:

Uh, Whistle Down the Wind.

TREY GERRALD:

What was Andrew Lloyd Webber's first musical?

JOE KINOSIAN:

Joseph.

JOE KINOSIAN:

Joseph was his first.

JOE KINOSIAN:

Cat, it's Joseph.

TREY GERRALD:

Some folks dream of the wonders they'll do.

JOE KINOSIAN:

Okay, I only know the 1968 first recording, the one where Quentin Blake of Roald Dahl fame did the illustrations, so I, uh, I should know that.

JOE KINOSIAN:

So, Trey, you're right.

JOE KINOSIAN:

That, that smirk you're giving me is correct.

TREY GERRALD:

I just thought, I love that you guys didn't know it.

TREY GERRALD:

I thought it was really obvious, which is why I made it three because I thought it would be too easy.

TREY GERRALD:

I mean, you

CHELSEY DONN:

thought it'd be obvious.

CHELSEY DONN:

You remember the little Bow Wow moment?

CHELSEY DONN:

I mean, did you think that all of a sudden I was

TREY GERRALD:

going to have a Jacobin?

TREY GERRALD:

All right, here we go.

TREY GERRALD:

So, this one.

TREY GERRALD:

Jacobin?

TREY GERRALD:

Yeah, yeah, go ahead.

TREY GERRALD:

Yes, Jacob and Sons.

TREY GERRALD:

Jacob and Sons is the first song.

TREY GERRALD:

Number four.

TREY GERRALD:

Do you Kinosian this Broadway Overture?

CHELSEY DONN:

Kinosian!

CHELSEY DONN:

Well, I think I Kinosian it now, but don't beat me

VOICEOVER:

on this

TREY GERRALD:

one.

TREY GERRALD:

Alright, Joe, you got it, what do you think it is?

JOE KINOSIAN:

I believe it is Les Misérables, um, but is the song called Look Down, or is it?

JOE KINOSIAN:

Yeah, I think it's Look Down.

TREY GERRALD:

Yeah.

TREY GERRALD:

Is it?

TREY GERRALD:

Yeah.

TREY GERRALD:

No, it's not.

TREY GERRALD:

It's called Overture.

TREY GERRALD:

Work song.

TREY GERRALD:

Work song.

TREY GERRALD:

Okay.

TREY GERRALD:

Work song.

CHELSEY DONN:

But still, that's a point for Joe.

TREY GERRALD:

a prologue, like in the libretto, but not on the track.

TREY GERRALD:

So we're just gonna, you knew it was Les Mis.

CHELSEY DONN:

That was a point for Joe.

CHELSEY DONN:

That's two to one.

CHELSEY DONN:

I got there, but not, not as fast as Kinosian.

TREY GERRALD:

Okay, here we go.

TREY GERRALD:

This one, this one is, Well, we'll see.

TREY GERRALD:

I don't know.

VOICEOVER:

Oh, God.

TREY GERRALD:

Okay.

TREY GERRALD:

Joe Kinosian, this Broadway overture?

TREY GERRALD:

Kinosian.

JOE KINOSIAN:

Already?

JOE KINOSIAN:

Sorry, Chelsey.

JOE KINOSIAN:

Sorry.

JOE KINOSIAN:

Yeah, I know that D5 to a C major 7 anywhere.

JOE KINOSIAN:

Alright, what is it?

JOE KINOSIAN:

That is Into the Woods.

CHELSEY DONN:

I'm not a big Into the Woods fan, I'm sorry to say.

CHELSEY DONN:

Oh, you're not?

CHELSEY DONN:

Okay.

CHELSEY DONN:

Okay.

CHELSEY DONN:

Yeah.

CHELSEY DONN:

Sorry.

CHELSEY DONN:

I know it's controversial.

JOE KINOSIAN:

It's um, pros and cons for sure.

JOE KINOSIAN:

Cause you know, it does have some lines that really wishes our children, but you know, it's, it's got a lot of good stuff on it.

TREY GERRALD:

Mark Tuminelli, friend of the pod.

TREY GERRALD:

That's his, he like cringes at that.

JOE KINOSIAN:

It's a tough lyric for a song.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

It's a little, it's a little corny.

JOE KINOSIAN:

Okay, here we go.

JOE KINOSIAN:

That was so good, Joe, oh my god.

JOE KINOSIAN:

Oh my god.

JOE KINOSIAN:

I believe it's called Prologue.

JOE KINOSIAN:

When in doubt.

TREY GERRALD:

Classic title.

TREY GERRALD:

Yeah.

TREY GERRALD:

Okay, here we go.

TREY GERRALD:

Okay.

TREY GERRALD:

Do you Kinosian this Broadway overture?

CHELSEY DONN:

Kinosian?

JOE KINOSIAN:

Kinosian.

TREY GERRALD:

Sadly, Joe went into the original choreography and said the word Kinosian,

VOICEOVER:

so,

TREY GERRALD:

um, Chelsey, you got it.

TREY GERRALD:

What do you think that is?

CHELSEY DONN:

That's Fiddler.

CHELSEY DONN:

That's Fiddler on the Roof.

CHELSEY DONN:

Yes.

TREY GERRALD:

The literal best.

TREY GERRALD:

And

JOE KINOSIAN:

what is

CHELSEY DONN:

the song called?

CHELSEY DONN:

Overture.

CHELSEY DONN:

Fiddler.

CHELSEY DONN:

The Fiddler on the Roof.

CHELSEY DONN:

It's okay, I got the point.

CHELSEY DONN:

Tradition!

CHELSEY DONN:

Tradition!

CHELSEY DONN:

Tradition!

CHELSEY DONN:

Thank you.

TREY GERRALD:

All right.

TREY GERRALD:

So, ooh, Chelsey, you're doing so much better than I thought.

CHELSEY DONN:

I'm proud of you.

CHELSEY DONN:

And that's only because Joe broke into the choreography.

CHELSEY DONN:

How

JOE KINOSIAN:

can you hear that and not just do a little bottle down?

JOE KINOSIAN:

All right, here

TREY GERRALD:

we go.

TREY GERRALD:

Do you, Kinosian, this Broadway Overture?

CHELSEY DONN:

Oh, Kinosian.

CHELSEY DONN:

Alright,

CHELSEY DONN:

Chelsey.

CHELSEY DONN:

Last Five Years.

CHELSEY DONN:

Chelsey!

CHELSEY DONN:

Whoa!

CHELSEY DONN:

I do love Jason Robert Brown.

TREY GERRALD:

Have you ever heard of The Last Five Years, Joe?

CHELSEY DONN:

No.

TREY GERRALD:

Oh, what's that called, Chelsey?

TREY GERRALD:

What's the track called?

CHELSEY DONN:

Oh, God, I'm really bad with the name of songs.

CHELSEY DONN:

I will always It's just called Still Hurting.

CHELSEY DONN:

Oh.

CHELSEY DONN:

Okay,

JOE KINOSIAN:

guys.

JOE KINOSIAN:

Jamie

CHELSEY DONN:

is over and Jamie is on, that one.

JOE KINOSIAN:

Yeah, yeah, yeah, yeah.

JOE KINOSIAN:

I don't know that show very well.

CHELSEY DONN:

It's time to move on,

JOE KINOSIAN:

Trey, we're singing.

JOE KINOSIAN:

I know you're trying to play the game, but there's a song happening.

JOE KINOSIAN:

I know, I'm struggling here.

JOE KINOSIAN:

I mean, we just

CHELSEY DONN:

talked about Marie's husband.

TREY GERRALD:

Okay, so we have three more, plus Plus a tiebreaker.

TREY GERRALD:

So here we go.

TREY GERRALD:

We're neck and

CHELSEY DONN:

neck.

CHELSEY DONN:

You're going to win.

CHELSEY DONN:

You're going to win.

TREY GERRALD:

Do you Kinosian this Broadway Overture?

JOE KINOSIAN:

Kinosian!

JOE KINOSIAN:

Kinosian!

JOE KINOSIAN:

Kinosian!

JOE KINOSIAN:

Kinosian!

JOE KINOSIAN:

Kinosian!

CHELSEY DONN:

Kinosian!

CHELSEY DONN:

So pretty.

CHELSEY DONN:

I like the end.

JOE KINOSIAN:

Joe, do you know?

JOE KINOSIAN:

I believe that's Oklahoma.

CHELSEY DONN:

Oh,

JOE KINOSIAN:

very good, Joe.

JOE KINOSIAN:

The first like couple measures could have been literally any.

JOE KINOSIAN:

I know.

JOE KINOSIAN:

I thought it was Music

CHELSEY DONN:

Man for a second.

CHELSEY DONN:

I didn't know where we were.

JOE KINOSIAN:

Yeah.

JOE KINOSIAN:

Very traditional.

JOE KINOSIAN:

So unspecific.

JOE KINOSIAN:

Yes.

JOE KINOSIAN:

Oh, it's, uh, those are the days when they could afford orchestras.

JOE KINOSIAN:

I know.

JOE KINOSIAN:

It's a lot of instruments.

JOE KINOSIAN:

That

CHELSEY DONN:

was gorgeous.

TREY GERRALD:

All right.

TREY GERRALD:

Love it.

TREY GERRALD:

Do you Kinosian this Broadway Overture?

TREY GERRALD:

Oh, God, I can't.

TREY GERRALD:

Oh,

JOE KINOSIAN:

I Kinosian it.

JOE KINOSIAN:

Oh,

CHELSEY DONN:

I know, I Kinosian

JOE KINOSIAN:

it.

JOE KINOSIAN:

Alright, Joe, you were first.

JOE KINOSIAN:

The producers.

CHELSEY DONN:

It's just probably overture, right?

CHELSEY DONN:

Cause it was like a bunch of the Hitler in there.

CHELSEY DONN:

Also, I really

TREY GERRALD:

struggled with, um, Good Morning Baltimore because there actually is an overture that is not on the cast recording.

TREY GERRALD:

Oh, that starts going, it leads into the beginning of Good Morning Baltimore.

TREY GERRALD:

But I don't even remember

JOE KINOSIAN:

that from seeing the play.

TREY GERRALD:

It's like a couple seconds.

TREY GERRALD:

And it's more or less the same.

JOE KINOSIAN:

Interesting.

TREY GERRALD:

All right, here we go.

TREY GERRALD:

Okay.

TREY GERRALD:

Here is our final one of the main round.

TREY GERRALD:

Never want this game to end.

TREY GERRALD:

Get ready.

TREY GERRALD:

Just get ready.

TREY GERRALD:

It's the last one on purpose.

CHELSEY DONN:

Oh, no.

CHELSEY DONN:

Okay.

TREY GERRALD:

Uh oh.

VOICEOVER:

I'm scared.

TREY GERRALD:

Okay.

CHELSEY DONN:

Kinosian.

JOE KINOSIAN:

Kinosian.

JOE KINOSIAN:

If it's

CHELSEY DONN:

what I think it is.

CHELSEY DONN:

Kinosian.

CHELSEY DONN:

Yeah.

CHELSEY DONN:

Yeah, for sure.

CHELSEY DONN:

I think.

TREY GERRALD:

Yeah.

TREY GERRALD:

All right.

TREY GERRALD:

Well, Chelsey, you were first.

CHELSEY DONN:

Okay.

CHELSEY DONN:

So I think this is Chicago.

TREY GERRALD:

I'm wrong!

JOE KINOSIAN:

You're so close though.

JOE KINOSIAN:

You're like a couple You're

TREY GERRALD:

so

JOE KINOSIAN:

close.

JOE KINOSIAN:

All right, Joe, you did clock in second.

JOE KINOSIAN:

She should get half a point for that because that's the same composer as Cabaret.

CHELSEY DONN:

It's a Wilkommen

JOE KINOSIAN:

from Cabaret

CHELSEY DONN:

Boy.

CHELSEY DONN:

Okay.

CHELSEY DONN:

All right.

CHELSEY DONN:

Well, at least I got the same composer.

TREY GERRALD:

You don't get a point, Chelsey.

CHELSEY DONN:

That's okay.

CHELSEY DONN:

I didn't give myself

TREY GERRALD:

one.

TREY GERRALD:

You're not our guest.

TREY GERRALD:

All right, here we are.

TREY GERRALD:

So ironically, Chelsey has three and Joe has six.

TREY GERRALD:

But this is the tiebreaker.

TREY GERRALD:

This is for the game.

TREY GERRALD:

This is for the game.

TREY GERRALD:

So this is actually worth 10 points.

TREY GERRALD:

Oh my God.

TREY GERRALD:

Well, so anyone could win.

TREY GERRALD:

You ready?

CHELSEY DONN:

Yeah.

TREY GERRALD:

Yes.

VOICEOVER:

Kinosian.

CHELSEY DONN:

Is this your show?

CHELSEY DONN:

Yeah.

CHELSEY DONN:

Just because I know how his brain works.

TREY GERRALD:

All right, Joe, you were first.

JOE KINOSIAN:

I believe that's Murder for Two, the Drama Desk nominated hit of several years back.

JOE KINOSIAN:

I'm gonna say

CHELSEY DONN:

that's Insider Baseball, but I'll allow it.

TREY GERRALD:

No, Joe, what is that title?

JOE KINOSIAN:

It's Prelude, right?

JOE KINOSIAN:

Prelude and Waiting in the Dark?

JOE KINOSIAN:

Just

TREY GERRALD:

Prelude.

TREY GERRALD:

Okay.

TREY GERRALD:

So why is it, so what is a prelude?

TREY GERRALD:

Why not an overture or prologue?

TREY GERRALD:

What is a prelude?

JOE KINOSIAN:

Well, because an overture is definitionally taking parts from other songs and our prelude was like, you know, it's before the like show really gets going, but it's, it's, it was an original thing.

JOE KINOSIAN:

It uses at the very end, the piece of another song, but it's mostly original.

TREY GERRALD:

Well, Joe, A, a huge sweet here.

TREY GERRALD:

A here a landslide . A real landslide.

JOE KINOSIAN:

Stevie Nicks

JOE KINOSIAN:

. TREY GERRALD: Congratulations, Joe.

JOE KINOSIAN:

You are the winner.

JOE KINOSIAN:

Yay.

JOE KINOSIAN:

I'm honored.

JOE KINOSIAN:

Chelsea.

JOE KINOSIAN:

It's great.

JOE KINOSIAN:

You got, thank you.

CHELSEY DONN:

I, you know, I, I feel like.

CHELSEY DONN:

Prouder of myself than I thought I would at the end of this, I will say.

CHELSEY DONN:

I don't think it completely embarrassed myself and my family.

TREY GERRALD:

No, I do have one final question though.

TREY GERRALD:

So I chose the prelude.

TREY GERRALD:

So let's not speak.

TREY GERRALD:

And I just want to play it for a second because I have a question for you.

TREY GERRALD:

Okay, I think it's so funny, but it's music.

TREY GERRALD:

How do you do that?

JOE KINOSIAN:

My god, thank you.

JOE KINOSIAN:

That, that is the absolute best compliment I could get on that because that was exactly the idea is to set up that this is a zany show, but set up that the two actors are really going to play well for you and like have a lot, um, the music is going to factor in very heavily but it was just really funny to me that that the one actor would have all the all the complicated stuff high up on the piano and the other would just play one single note in response like like a very unhelpful scene partner just meh and so you know he tries playing really quietly and sweetly and the other guy bangs on the piano and then he plays really loud and the other one does like a real soft one and i was also thinking of like what would be fun to act because even as a when i'm thinking musically i'm still thinking like an actor you Because that person is on stage, they're still helping tell the story, no matter what.

JOE KINOSIAN:

And so I was like, it would be funny to make faces while you were doing something like that.

TREY GERRALD:

And when did that piece get developed?

TREY GERRALD:

Was the show sort of formed already?

TREY GERRALD:

Or was that the first

JOE KINOSIAN:

thing?

JOE KINOSIAN:

No, it was, um, so we had the world premiere in Chicago.

JOE KINOSIAN:

Chicago.

JOE KINOSIAN:

And then it was added when we came to New York and it was actually, can I drop a little bit of a name?

JOE KINOSIAN:

Oh, wait.

JOE KINOSIAN:

Was it Sondheim?

JOE KINOSIAN:

No, it wasn't.

JOE KINOSIAN:

Although he did say he liked it.

JOE KINOSIAN:

I know he did.

JOE KINOSIAN:

I wasn't there, but I heard.

JOE KINOSIAN:

No, um, it was Stephen Schwartz of Wicked fame who, Cause his son directed it, right?

JOE KINOSIAN:

His son directed it.

JOE KINOSIAN:

Yep.

JOE KINOSIAN:

Uh, Scott Schwartz directed it.

JOE KINOSIAN:

And, um, Stephen Schwartz came to a preview and was like, I really liked the first song, but I feel like it doesn't demonstrate virtuosic piano playing.

JOE KINOSIAN:

And could you do something that starts it off?

JOE KINOSIAN:

That was like virtuosic.

JOE KINOSIAN:

Would that just like give the audience more of an understanding of the show?

JOE KINOSIAN:

So the assignment was just that.

JOE KINOSIAN:

Exciting, complicated, like Grieg esque complex piano music.

JOE KINOSIAN:

And then I was like, oh, let's also like think of what they're doing and like how physically that could be funny.

JOE KINOSIAN:

Cause the show ends with a very physical piano thing that's just playing too.

JOE KINOSIAN:

So, bookend.

CHELSEY DONN:

Yeah, thanks.

CHELSEY DONN:

That's really

JOE KINOSIAN:

sweet of you, Trey.

JOE KINOSIAN:

Thank you for saying that.

CHELSEY DONN:

So, so captivating from the second it starts.

CHELSEY DONN:

I love it.

JOE KINOSIAN:

I also like one of my favorite quotes about music.

JOE KINOSIAN:

I know we're going over time, but you'll, you'll love this is a critic asked Adi DeFranco where her, her guitar voice came from, like her jangly, like that sort of like.

JOE KINOSIAN:

And she said it was from playing piano bars that she loved to be really loud and then go completely silent because that was the only thing that shut the crowd up.

CHELSEY DONN:

Yeah,

JOE KINOSIAN:

and so I was also like the idea of like playing something like you heard really loud and then a lot of pause just to like make people self conscious and shut up and pay attention.

JOE KINOSIAN:

Yeah,

TREY GERRALD:

that's so smart.

TREY GERRALD:

And when you listen to it, because I saw the show multiple times in person, but when you listen to the cast recording, Just the, it's so funny, even without seeing the physical comedy or the character interplay, you just get it's like, fabulous.

TREY GERRALD:

Like it plays still.

TREY GERRALD:

Never takes itself

JOE KINOSIAN:

seriously.

JOE KINOSIAN:

Yeah,

TREY GERRALD:

totally.

TREY GERRALD:

Oh, thanks.

TREY GERRALD:

Wow.

TREY GERRALD:

This has truly been so much fun.

CHELSEY DONN:

So fun.

TREY GERRALD:

The whole rigmarole is not going to end.

TREY GERRALD:

end here we are gonna pop over to patreon but joe thank you so much for joining us today we love you so dearly thank you for helping build credibility for our podcast by giving us such an amazing theme song i mean it really it was one of the most repeated bits of compliment that we i got When we first started it was like, holy shit.

TREY GERRALD:

Cause it's the first thing you hear.

VOICEOVER:

Yeah.

TREY GERRALD:

Oh, you can all follow Joe on Instagram.

TREY GERRALD:

This is an update.

TREY GERRALD:

It's new Joe Kinzo.

TREY GERRALD:

That's J O E K I N Z O.

TREY GERRALD:

You could listen to the podcast.

TREY GERRALD:

Let's start a coup exclamation mark on all of the podcast players that exist.

TREY GERRALD:

Listeners, if you are interested and you would like to license Murder for Two at a theater near you, you can obtain the performance rights@concordtheatricals.com.

TREY GERRALD:

To learn more about Joe and his frequent writing partner that I personally love, Kellan Blair, you can visit KinosianandBlair.

TREY GERRALD:

com.

TREY GERRALD:

Joe, are there any projects, any things on the horizon that you could maybe tease or not tease?

JOE KINOSIAN:

Everything is very nebulous, as I told you.

JOE KINOSIAN:

Um, I did a musical called It Came From Outer Space, premiered at Chicago Shakespeare last summer, and that's it.

JOE KINOSIAN:

There will hopefully be another production of that, uh, somewhere wonderful, uh, before too long, but it's definitely, you know, in, in the works.

JOE KINOSIAN:

See Murder for Two if it's in your city.

JOE KINOSIAN:

Yes.

CHELSEY DONN:

Yes, for sure.

CHELSEY DONN:

Well, okay.

CHELSEY DONN:

Before we jump over onto our Patreon, Joe, we like to ask our guests one final question.

CHELSEY DONN:

What is one piece of advice you'd give on how to manage and handle online haters?

JOE KINOSIAN:

Oh, put down your phone and read a book.

CHELSEY DONN:

Yeah.

JOE KINOSIAN:

Honest to God.

JOE KINOSIAN:

I read a book called Stolen Focus and it's just basically about how dangerous the habit of a smartphone can be.

JOE KINOSIAN:

And it really inspired me to like, okay, definitely got to like continue the uphill climb because I want to, I want to look at it right now, you know,

VOICEOVER:

but

JOE KINOSIAN:

the uphill climb of like focusing and getting your focus back and, um, using your time for you and not for what you think you should be doing, which is wasting time, right?

JOE KINOSIAN:

I love that.

JOE KINOSIAN:

No judgment, but cause you know, we're all wrong.

JOE KINOSIAN:

We're all in this together.

JOE KINOSIAN:

But, uh, yeah, that was very inspiring.

JOE KINOSIAN:

It's

CHELSEY DONN:

true.

CHELSEY DONN:

It's so true because we feel like the whole world exists on our smartphones because we're on them all the time.

CHELSEY DONN:

But the reality is it doesn't and there's life outside of your smartphone.

CHELSEY DONN:

And I'm not quoting Avenue Q, but

TREY GERRALD:

Oh, but I appreciate your point of view in the world of creating with both sides being true of valuing and not valuing reviews and opinions and how it doesn't stop you from creating because that can stop a lot of people, but it hasn't stopped you, which is very inspiring.

JOE KINOSIAN:

Well, thank you.

JOE KINOSIAN:

I mean, uh, uh, there's that Warhol quote about make art.

JOE KINOSIAN:

And then while people are talking about it, make more art.

JOE KINOSIAN:

And that's a good guideline.

JOE KINOSIAN:

It's like, people are going to say all sorts of things for all sorts of reasons.

JOE KINOSIAN:

And just, Oh,

VOICEOVER:

I love

JOE KINOSIAN:

that.

TREY GERRALD:

Yeah, it's a good one.

TREY GERRALD:

Well, we did it Queens.

TREY GERRALD:

That is another round on the R U A R Q Ferris wheel of Did you get it?

TREY GERRALD:

I did the, I did the prelude.

TREY GERRALD:

Oh, oh, oh, oh, no, I got it.

CHELSEY DONN:

If you like what you heard, please tell a friend.

TREY GERRALD:

If you did not like what you heard, please tell an enemy.

CHELSEY DONN:

On this week's After Show pod, we are diving deeper with Joe as we rate and review a one star review he personally received.

TREY GERRALD:

Uh oh.

TREY GERRALD:

Can't wait.

TREY GERRALD:

And Joe is also going to take a spin on the Meryl Go Round.

TREY GERRALD:

And somehow, this got said.

VOICEOVER:

These are your review queens!

TREY GERRALD:

And as always, remember, ignore

CHELSEY DONN:

the haters, you're a queen!

TREY GERRALD:

Gender non specific queen.

TREY GERRALD:

Bye!

CHELSEY DONN:

Thanks

TREY GERRALD:

for listening to this very special review episode of the show.

TREY GERRALD:

We would love for you to leave us a 5 star rating on Apple Podcasts, on Spotify, whatever platform it is that you're listening on right now.

TREY GERRALD:

And Why don't you go ahead and share the show?

TREY GERRALD:

It makes a giant impact for our reach.

TREY GERRALD:

So, go ahead, post it in your story on Instagram, make a TikTok about it.

TREY GERRALD:

No sharing is too big or too little.

TREY GERRALD:

Love ya!

TREY GERRALD:

Sign up directly on Apple Podcasts to hear our weekly, members only aftershow.

TREY GERRALD:

Unlock additional benefits when you become a Patreon member at reviewthatreview.

TREY GERRALD:

com slash patreon.

TREY GERRALD:

Follow us on all the socials at TheReviewQueens and join our mailing list at ReviewThatReview.

TREY GERRALD:

com.

TREY GERRALD:

Our Kvetch line is open 24 7 at 1 850 REVIEW ZERO.

TREY GERRALD:

You never visit, you never write, give us a call NOW!

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About the Podcast

Show artwork for Review That Review with Chelsey and Trey
Review That Review with Chelsey and Trey
A comedy podcast rating reviewing, and hilariously dissecting online reviews, uncovering the outrageous stories behind the stars.

Listen for free

About your hosts

Profile picture for Trey Gerrald

Trey Gerrald

Actor | Writer | Human-Person
Review Queen 👑
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Chelsey Donn

Actress | Comedian | Writer
Review Queen 👑