I'm so excited for this interview. Not because I've never spoken with a Tony winner before (Boyd Gaines and I go to the same taco truck), but because I've rarely gone into one of these talks without any preconceived notion about what we were going to discuss.
Once we were finished, I realized that this could have easily been called "Theater and the Hometown Hero," but a little flash gets a lot more likes, so yes, the person I'm speaking with does have a Tony, but that's far from being the most interesting thing about them.
Here's the interview:
ME: Did you know that the friend who put us in touch actually told me your story a long time ago?
THEM: Did he?
ME: Yeah, it might have even been the first time we met. He was like, 'Listen to this' and then I ended up writing it as a monologue and putting it in one of my shows.
THEM: Well then I have to sue you.
ME: Get in line.
THEM: (Laughs.) Which show was it?
ME: It was this show Famous People all about the nature of fame and theater and being in a bubble.
THEM: I'd like to read that. Will you send it to me?
ME: Sure, but enough about me--Have you ever met Angela Lansbury?
THEM: I have, believe it or not.
ME: And you're still alive. How is that possible?
THEM: She was very kind. I've met her several times at different events. She's a great lady. Are you a fan?
ME: Oh, we have so much to cover.
THEM: (Laughs.) I wish I had her number or something I could give you to--
ME: It's probably for the best. I'm not strong enough yet. My therapist won't even let me blog about our sessions.
THEM: That's a good therapist.
ME: To sum up your story, which I love--
THEM: Which you stole.
ME: (Laughs.) Which I stole--you came up in the theater?
THEM: Yes.
ME: In a small town.
THEM: Very small town, but close to the city.
ME: And then you wrote something that became very popular.
THEM: Uh--yes.
ME: It's a great play.
THEM: Thank you.
ME: And there was a theater in the small town that you came from that wanted to do your play.
THEM: Yes.
ME: And you said 'No.'
THEM: I did.
ME: Okay, that's where I'll leave off and let you pick it up.
THEM: It was, uh--
ME: I didn't mean to simplify it to that--
THEM: No, uh, that's all right. I'm trying to--Okay. I had submitted this particular play to this theater--which wasn't in my hometown, exactly, but the next town over, uh--and I had submitted this play to them. I had sent a letter--this was back when you sent letters--to everyone at the theater asking that they read it. They rejected it. Very nicely. I got a very nice form letter telling me why they didn't want to do it. Time goes by. Life happens, as it does, uh--And we get to a point when the play--not very different from how it was originally conceived and sent to that theater--has a...life. A very healthy life--in New York City. I am then contacted by that theater. They ask me if I would consider letting them produce my play. The same play they had rejected years earlier.
ME: And it was the same staff as--
THEM: Same staff. Same artistic staff. I still had the form letter with all the names on it. I should have put the letter side-by-side with the letter asking to do my play.
ME: That would have been a great Instagram moment.
THEM: (Laughs.) Unfortunately that was before, but that would have been a--See now I wish I still had those letters.
ME: I bet you still have them.
THEM: I have them somewhere. I can look.
ME: After we're done here.
THEM: Anyway they ask to do the play, and I--You know, maybe I was being a little petty, but I said, 'No.' Now, that choice was made easier for me by the fact that, uh, there was some interest from bigger theaters in other parts of the country doing the show. Now I could have asked for an exception for this, uh, theater--to do my play. But I didn't want to do that.
ME: Because they didn't want it until it became a thing in New York?
THEM: Exactly.
ME: And they probably didn't remember that you had submitted it.
THEM: Well now that's true, so--Because I didn't want to--I felt guilty about refusing them. I thought--All right, let's see if this can be--Nowadays we would call it a 'teachable moment.' I wanted to express my frustration to them that they had dismissed my play--
ME: But to play devil's advocate, which I really don't want to in this case, but--to play devil's advocate--they must dismiss a lot of plays--
THEM: That's true. That's why I said, 'Let me see if something can come out of this so that the next young playwright who sends them a script gets a little more attention in the event that they might wind up on Broadway some day. Let's make sure we're not letting people fall through the cracks.'
ME: So what did you do?
THEM: I wrote to them and told them--I called them up, sorry, I called them--And I said, 'I have this new play I'm working on. Would you like to read it?' And they said--Oh, it was very different from, you know, being dismissed outright, it was--We don't need to read it. We'll do it. We'll do your play. I said, Okay, and already in my mind I'm thinking of ways I'm going to go in there and change the culture of that place. I'm going to let them know what's up.
ME: And what happened?
THEM: It was not received the way I had hoped.
ME: (Laughs.) I can hear the ominous music.
THEM: Bum bum bum.
ME: They weren't receptive to what you had to say?
THEM: They--there was a lot of--there--I wish there was a word for mansplaining, but in regards to the industry. When somebody in a high-ranking position somewhere tries to 'explain' the industry to you. To someone who, at that point, had one of the most-produced plays in the country. And I was getting the industry explained to me and how this and this and this is why, uh, doing the things or even looking at the things I wanted them to look at just couldn't be--just wasn't possible.
ME: What kinds of things?
THEM: Well, uh, I know this is anonymous--
ME: Yes, which is going to make this so hard to promote.
THEM: I'll say that--Is it okay to say--
ME: You can say whatever you want.
THEM: Okay, I'll say that I'm an artist of color. I'm very aware of the rooms I'm in and who's in that room with me. And when I started out, it was not uncommon for me to be the only person of color in a room--in any given room--and I'm very happy that there's now a movement that says, 'Look around and see who's in the room with you. How diverse is that room? How does that room look?' And not just for people of color and artists of color but for people with disabilities, for people who are queer, who are non-binary, who are trans, who are--it's--I didn't know if in my lifetime we would get there. Let me say that. And we're not there. We're not there, but there's a yet now? Isn't there? Isn't there a yet? So...And there never was a yet. But now we have to go further. We can't say--Well, if we get there, that's enough. That's not enough for me as a writer, as an actor, as an artist. It's not enough. We got to get as many stories into that room as possible, and we have to make sure the gates are down. That they're all the way down.
ME: We've talked about gatekeepers in these interviews before--
THEM: They're destroying the American theater. (Pause.) Let me say that again--They're destroying the American theater. Maybe theater elsewhere as well. I can't speak to that. But they are--I don't believe that the people running that little theater near where I grew up were racist. I don't think that's what was going on. But I do believe they were classist. I believe that because I didn't come from money and I didn't go after an advanced degree--because I couldn't afford to--I was kept out. I was kept out of the process and out of the, uh, circle of consideration. Nobody was trying to discover me. There's this American narrative that everybody wants to discover that kid out there or that new star, but now--and that may be true to an extent--but now it's about where we're looking for those people. We're not looking for those people in the projects. In places like where I grew up. In middle class homes. We're looking for those people at Yale Drama. At NYU. In the families of--Oh, who's the sister of that celebrity? Is she any good? And do any of those places sound like places where you're going to find economic diversity? I'm not saying you won't find racial diversity there--schools are trying--they're making an effort. But, uh, it's tricky.
ME: I keep saying that schools make allowances to try and get a couple of people in the door who have no resources and then the rest of the spots go to people with all the resources, and as someone who was middle-class--
THEM: You can't get in the door. You can't. And that means those stories are not being told. Those stories are not being brought into the room. When I got to--months later--when I got to this little theater and they were doing this new play I wrote and everybody's just so crazy about the whole thing--they immediately start in with creating this--this promotional thing of--The Hometown Hero Is Back. And right away I said, 'No, we're not doing that.' You got to get in on the ground floor if you want to do the whole prodigal son story, or whatever you want to call it. I had been--Sending them that one script--that wasn't the only script I ever sent them. I auditioned there--as an actor. I was trying to get in any way I could. They wouldn't even let me usher. Said they were all full up. Okay. Because back then the ushering jobs went to the kids of the richest families in town--the ones that donated to the theater. They'd put the little vests on them--it was very cute. But I just wanted to get in the door, and it was, 'No, we don't think so.' So you're not turning around later to make it this anecdote about 'How cute is it that we blocked this person from coming in here and then they went to New York and made it big and now they can pass muster' No, ma'am.
ME: (Laughs.) No, ma'am.
THEM: No ma'am, no ma'am. We're not doing that. Instead of talking about how glad you are I'm here, why don't you show me who in this room is proof that you're not shutting out somebody just like me? Where's the next me? Where's the next kid that you're giving a shot to? What about diversity in experience? What about diversity in opportunity? We need all the diversity we're trying to get now and more--much more.
ME: If your rehearsal room looks like they're shooting an episode of Riverdale--
THEM: Mmmmm, say that a few times. Keep saying that.
ME: And they didn't go for what you were saying at the time?
THEM: Not at all. They thought that was out of my purview. Forget that they asked me there. They asked to do my play. They asked for my stories. My perspectives. Then I say, 'Well, I want somebody in this room who doesn't have a master's degree.' Everybody gets quiet. 'I want somebody in this room who's Italian. Who's ethnic. Who's Irish. Who's Polish. Not a lot of Nazi-looking motherf***ers.' Can I swear?
ME: You can do whatever you want, you have a Tony award.
THEM: (Laughs.) Nothing against, you know, blonde hair and blue eyes, because I believe we're all humans on this earth and that means we're all connected, like that article you wrote that you sent me about the woman who takes in all those people? That was beautiful. She's a beautiful soul. Theater should be taking in everybody it can. Not trying to--
ME: What about equity?
THEM: Man, fuck equity. You listening? Fuck it. And equity's--I've been in equity for a long time. I gave them a lot of my money. And I love the people involved. I do. But equity has become a tool for keeping people out. It used to be--it was a guarantee of excellence. That's not the case anymore. It's not just a tool of solidarity, it's a tool of exclusivity. And it's--Well, we don't want to go down that road. I have a lot of thoughts on that. But yes, I know what you mean when you say--
ME: There'd be a theater right now going, 'Well, we can't just cast some twenty-three year-old who's got talent but doesn't have formal training because we're equity and--'
THEM: Bulls***. Sorry. Sorry to say that, but we both know theaters do whatever they want. Whatever they want to do they do. If you're going to use that--Now, if you're going to use that power, that amount of control, to harm people--which they often do--why don't you use it to make somebody's life better and better your art? That's what I'd like to know.
ME: It sounds like your homecoming experience wasn't great.
THEM: It was very educational for me. I was at the top of my game, and they still weren't willing to listen. It's funny, because you learn what they'll bend on and what they won't. They'll bend on money, believe it or not, a lot of times. But when you threaten their ability to control who gets in the door--the gatekeepers--that's when you could be Meryl F***ing Streep and you're still going to be facing an uphill climb.
ME: Because you're challenging the system not the institution.
THEM: That's it. That's what it is. They have created--not just this theater, but a lot of theaters, in New York and all over the country--a system, like you said, a system--that has found a way to present this illusion of liberal thinking and progressive support, when really, we're just letting in the rich kids. Or the well-connected kids. Or the kids who make the rich and well-connected people look good. They trot out kids like the kid I was and say 'Look what we're doing for this poor kid who we saved and he or she or they can be our proof that we're who we say we are.'
ME: Have you run into the same thing at other--
THEM: Everywhere I go. Some places are better than others. But people have to demand--they have to keep making those demands. Say--How many people in this room--If I'm doing theater in Little Rock, I say, 'How many artists in this room right now are from Little Rock?' If I'm in Baton Rouge, Louisiana, I say, 'How many artists in this room weren't brought in from New York? From Los Angeles?' I say, 'Why aren't you making a commitment to the place and the state that you're from when--chances are--it's the taxpayers there who are helping to support your organization.' You have to be a bigmouth.
ME: Then you get blacklisted.
THEM: You might, yes. You might. But if you're me--if you're someone like me--maybe you have a little bit more pull. If you're not like me, but if it's unanimous--If everybody in that room is saying, 'Hey, we don't like the look of this room--'
ME: But they're in the room, so why would they complain?
THEM: Then let's talk about the people who aren't in the room. Who are still auditioning for these places. Who are still supporting these places. Going to see their shows. Talking them up. Trying to make it happen by kissing some a**es. You got people like that reading these interviews?
ME: In Rhode Island? That's all we have.
THEM: Okay, let me talk to those people now. If they don't--listen to me now--why would you accept somebody wanting you for anything other than your talent?
ME: Repeat that please.
THEM: (Laughs.) When it comes to how you get in the door, why would you accept somebody saying they want to work with you if it's not because of how talented you are?
ME: I want to just end it right there.
THEM: You do that then. It's your show.
ME: Thank you.
THEM: Thank you. You got me all fired up.
ME: That's what we do here.
THEM: The royal we.
ME: I'm a royal something.
THEM: (Laughs.) That's because you're a queen.
ME: You're very sweet. When can you get Angela's number?
THEM: I'll work on that for you.
Them is a Tony winner, a writer, an actor, and very proud of where they're from.
Once we were finished, I realized that this could have easily been called "Theater and the Hometown Hero," but a little flash gets a lot more likes, so yes, the person I'm speaking with does have a Tony, but that's far from being the most interesting thing about them.
Here's the interview:
ME: Did you know that the friend who put us in touch actually told me your story a long time ago?
THEM: Did he?
ME: Yeah, it might have even been the first time we met. He was like, 'Listen to this' and then I ended up writing it as a monologue and putting it in one of my shows.
THEM: Well then I have to sue you.
ME: Get in line.
THEM: (Laughs.) Which show was it?
ME: It was this show Famous People all about the nature of fame and theater and being in a bubble.
THEM: I'd like to read that. Will you send it to me?
ME: Sure, but enough about me--Have you ever met Angela Lansbury?
THEM: I have, believe it or not.
ME: And you're still alive. How is that possible?
THEM: She was very kind. I've met her several times at different events. She's a great lady. Are you a fan?
ME: Oh, we have so much to cover.
THEM: (Laughs.) I wish I had her number or something I could give you to--
ME: It's probably for the best. I'm not strong enough yet. My therapist won't even let me blog about our sessions.
THEM: That's a good therapist.
ME: To sum up your story, which I love--
THEM: Which you stole.
ME: (Laughs.) Which I stole--you came up in the theater?
THEM: Yes.
ME: In a small town.
THEM: Very small town, but close to the city.
ME: And then you wrote something that became very popular.
THEM: Uh--yes.
ME: It's a great play.
THEM: Thank you.
ME: And there was a theater in the small town that you came from that wanted to do your play.
THEM: Yes.
ME: And you said 'No.'
THEM: I did.
ME: Okay, that's where I'll leave off and let you pick it up.
THEM: It was, uh--
ME: I didn't mean to simplify it to that--
THEM: No, uh, that's all right. I'm trying to--Okay. I had submitted this particular play to this theater--which wasn't in my hometown, exactly, but the next town over, uh--and I had submitted this play to them. I had sent a letter--this was back when you sent letters--to everyone at the theater asking that they read it. They rejected it. Very nicely. I got a very nice form letter telling me why they didn't want to do it. Time goes by. Life happens, as it does, uh--And we get to a point when the play--not very different from how it was originally conceived and sent to that theater--has a...life. A very healthy life--in New York City. I am then contacted by that theater. They ask me if I would consider letting them produce my play. The same play they had rejected years earlier.
ME: And it was the same staff as--
THEM: Same staff. Same artistic staff. I still had the form letter with all the names on it. I should have put the letter side-by-side with the letter asking to do my play.
ME: That would have been a great Instagram moment.
THEM: (Laughs.) Unfortunately that was before, but that would have been a--See now I wish I still had those letters.
ME: I bet you still have them.
THEM: I have them somewhere. I can look.
ME: After we're done here.
THEM: Anyway they ask to do the play, and I--You know, maybe I was being a little petty, but I said, 'No.' Now, that choice was made easier for me by the fact that, uh, there was some interest from bigger theaters in other parts of the country doing the show. Now I could have asked for an exception for this, uh, theater--to do my play. But I didn't want to do that.
ME: Because they didn't want it until it became a thing in New York?
THEM: Exactly.
ME: And they probably didn't remember that you had submitted it.
THEM: Well now that's true, so--Because I didn't want to--I felt guilty about refusing them. I thought--All right, let's see if this can be--Nowadays we would call it a 'teachable moment.' I wanted to express my frustration to them that they had dismissed my play--
ME: But to play devil's advocate, which I really don't want to in this case, but--to play devil's advocate--they must dismiss a lot of plays--
THEM: That's true. That's why I said, 'Let me see if something can come out of this so that the next young playwright who sends them a script gets a little more attention in the event that they might wind up on Broadway some day. Let's make sure we're not letting people fall through the cracks.'
ME: So what did you do?
THEM: I wrote to them and told them--I called them up, sorry, I called them--And I said, 'I have this new play I'm working on. Would you like to read it?' And they said--Oh, it was very different from, you know, being dismissed outright, it was--We don't need to read it. We'll do it. We'll do your play. I said, Okay, and already in my mind I'm thinking of ways I'm going to go in there and change the culture of that place. I'm going to let them know what's up.
ME: And what happened?
THEM: It was not received the way I had hoped.
ME: (Laughs.) I can hear the ominous music.
THEM: Bum bum bum.
ME: They weren't receptive to what you had to say?
THEM: They--there was a lot of--there--I wish there was a word for mansplaining, but in regards to the industry. When somebody in a high-ranking position somewhere tries to 'explain' the industry to you. To someone who, at that point, had one of the most-produced plays in the country. And I was getting the industry explained to me and how this and this and this is why, uh, doing the things or even looking at the things I wanted them to look at just couldn't be--just wasn't possible.
ME: What kinds of things?
THEM: Well, uh, I know this is anonymous--
ME: Yes, which is going to make this so hard to promote.
THEM: I'll say that--Is it okay to say--
ME: You can say whatever you want.
THEM: Okay, I'll say that I'm an artist of color. I'm very aware of the rooms I'm in and who's in that room with me. And when I started out, it was not uncommon for me to be the only person of color in a room--in any given room--and I'm very happy that there's now a movement that says, 'Look around and see who's in the room with you. How diverse is that room? How does that room look?' And not just for people of color and artists of color but for people with disabilities, for people who are queer, who are non-binary, who are trans, who are--it's--I didn't know if in my lifetime we would get there. Let me say that. And we're not there. We're not there, but there's a yet now? Isn't there? Isn't there a yet? So...And there never was a yet. But now we have to go further. We can't say--Well, if we get there, that's enough. That's not enough for me as a writer, as an actor, as an artist. It's not enough. We got to get as many stories into that room as possible, and we have to make sure the gates are down. That they're all the way down.
ME: We've talked about gatekeepers in these interviews before--
THEM: They're destroying the American theater. (Pause.) Let me say that again--They're destroying the American theater. Maybe theater elsewhere as well. I can't speak to that. But they are--I don't believe that the people running that little theater near where I grew up were racist. I don't think that's what was going on. But I do believe they were classist. I believe that because I didn't come from money and I didn't go after an advanced degree--because I couldn't afford to--I was kept out. I was kept out of the process and out of the, uh, circle of consideration. Nobody was trying to discover me. There's this American narrative that everybody wants to discover that kid out there or that new star, but now--and that may be true to an extent--but now it's about where we're looking for those people. We're not looking for those people in the projects. In places like where I grew up. In middle class homes. We're looking for those people at Yale Drama. At NYU. In the families of--Oh, who's the sister of that celebrity? Is she any good? And do any of those places sound like places where you're going to find economic diversity? I'm not saying you won't find racial diversity there--schools are trying--they're making an effort. But, uh, it's tricky.
ME: I keep saying that schools make allowances to try and get a couple of people in the door who have no resources and then the rest of the spots go to people with all the resources, and as someone who was middle-class--
THEM: You can't get in the door. You can't. And that means those stories are not being told. Those stories are not being brought into the room. When I got to--months later--when I got to this little theater and they were doing this new play I wrote and everybody's just so crazy about the whole thing--they immediately start in with creating this--this promotional thing of--The Hometown Hero Is Back. And right away I said, 'No, we're not doing that.' You got to get in on the ground floor if you want to do the whole prodigal son story, or whatever you want to call it. I had been--Sending them that one script--that wasn't the only script I ever sent them. I auditioned there--as an actor. I was trying to get in any way I could. They wouldn't even let me usher. Said they were all full up. Okay. Because back then the ushering jobs went to the kids of the richest families in town--the ones that donated to the theater. They'd put the little vests on them--it was very cute. But I just wanted to get in the door, and it was, 'No, we don't think so.' So you're not turning around later to make it this anecdote about 'How cute is it that we blocked this person from coming in here and then they went to New York and made it big and now they can pass muster' No, ma'am.
ME: (Laughs.) No, ma'am.
THEM: No ma'am, no ma'am. We're not doing that. Instead of talking about how glad you are I'm here, why don't you show me who in this room is proof that you're not shutting out somebody just like me? Where's the next me? Where's the next kid that you're giving a shot to? What about diversity in experience? What about diversity in opportunity? We need all the diversity we're trying to get now and more--much more.
ME: If your rehearsal room looks like they're shooting an episode of Riverdale--
THEM: Mmmmm, say that a few times. Keep saying that.
ME: And they didn't go for what you were saying at the time?
THEM: Not at all. They thought that was out of my purview. Forget that they asked me there. They asked to do my play. They asked for my stories. My perspectives. Then I say, 'Well, I want somebody in this room who doesn't have a master's degree.' Everybody gets quiet. 'I want somebody in this room who's Italian. Who's ethnic. Who's Irish. Who's Polish. Not a lot of Nazi-looking motherf***ers.' Can I swear?
ME: You can do whatever you want, you have a Tony award.
THEM: (Laughs.) Nothing against, you know, blonde hair and blue eyes, because I believe we're all humans on this earth and that means we're all connected, like that article you wrote that you sent me about the woman who takes in all those people? That was beautiful. She's a beautiful soul. Theater should be taking in everybody it can. Not trying to--
ME: What about equity?
THEM: Man, fuck equity. You listening? Fuck it. And equity's--I've been in equity for a long time. I gave them a lot of my money. And I love the people involved. I do. But equity has become a tool for keeping people out. It used to be--it was a guarantee of excellence. That's not the case anymore. It's not just a tool of solidarity, it's a tool of exclusivity. And it's--Well, we don't want to go down that road. I have a lot of thoughts on that. But yes, I know what you mean when you say--
ME: There'd be a theater right now going, 'Well, we can't just cast some twenty-three year-old who's got talent but doesn't have formal training because we're equity and--'
THEM: Bulls***. Sorry. Sorry to say that, but we both know theaters do whatever they want. Whatever they want to do they do. If you're going to use that--Now, if you're going to use that power, that amount of control, to harm people--which they often do--why don't you use it to make somebody's life better and better your art? That's what I'd like to know.
ME: It sounds like your homecoming experience wasn't great.
THEM: It was very educational for me. I was at the top of my game, and they still weren't willing to listen. It's funny, because you learn what they'll bend on and what they won't. They'll bend on money, believe it or not, a lot of times. But when you threaten their ability to control who gets in the door--the gatekeepers--that's when you could be Meryl F***ing Streep and you're still going to be facing an uphill climb.
ME: Because you're challenging the system not the institution.
THEM: That's it. That's what it is. They have created--not just this theater, but a lot of theaters, in New York and all over the country--a system, like you said, a system--that has found a way to present this illusion of liberal thinking and progressive support, when really, we're just letting in the rich kids. Or the well-connected kids. Or the kids who make the rich and well-connected people look good. They trot out kids like the kid I was and say 'Look what we're doing for this poor kid who we saved and he or she or they can be our proof that we're who we say we are.'
ME: Have you run into the same thing at other--
THEM: Everywhere I go. Some places are better than others. But people have to demand--they have to keep making those demands. Say--How many people in this room--If I'm doing theater in Little Rock, I say, 'How many artists in this room right now are from Little Rock?' If I'm in Baton Rouge, Louisiana, I say, 'How many artists in this room weren't brought in from New York? From Los Angeles?' I say, 'Why aren't you making a commitment to the place and the state that you're from when--chances are--it's the taxpayers there who are helping to support your organization.' You have to be a bigmouth.
ME: Then you get blacklisted.
THEM: You might, yes. You might. But if you're me--if you're someone like me--maybe you have a little bit more pull. If you're not like me, but if it's unanimous--If everybody in that room is saying, 'Hey, we don't like the look of this room--'
ME: But they're in the room, so why would they complain?
THEM: Then let's talk about the people who aren't in the room. Who are still auditioning for these places. Who are still supporting these places. Going to see their shows. Talking them up. Trying to make it happen by kissing some a**es. You got people like that reading these interviews?
ME: In Rhode Island? That's all we have.
THEM: Okay, let me talk to those people now. If they don't--listen to me now--why would you accept somebody wanting you for anything other than your talent?
ME: Repeat that please.
THEM: (Laughs.) When it comes to how you get in the door, why would you accept somebody saying they want to work with you if it's not because of how talented you are?
ME: I want to just end it right there.
THEM: You do that then. It's your show.
ME: Thank you.
THEM: Thank you. You got me all fired up.
ME: That's what we do here.
THEM: The royal we.
ME: I'm a royal something.
THEM: (Laughs.) That's because you're a queen.
ME: You're very sweet. When can you get Angela's number?
THEM: I'll work on that for you.
Them is a Tony winner, a writer, an actor, and very proud of where they're from.
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