Steps To The Stage
Steps To The Stage
Behind the Scenes of Urinetown
What happens when actors become directors? The latest episode of Steps to the Stage takes you behind the scenes with the creative team of "Urinetown the Musical" as they prepare for opening night at 7th Street Community Theatre.
Co-directors Luke Hooganraad and Marcy Pinedo share the exhilarating and sometimes overwhelming experience of their directorial debuts after years of performing on stage. "There's definitely moments where I forget that I'm the adult in the room," Marcy laughs, highlighting the unexpected responsibilities that come with creative leadership. Their journey from receiving a random text message about collaborating to now seeing their show's title on the marquee reflects the organic way artistic partnerships form in community theater.
Musical Director Joey Rice and Choreographer Maddie McGowan offer fascinating insights into the show's eclectic musical style and movement vocabulary. Joey describes the score as "a parody of musicals in general," while Maddie explains how the constantly shifting musical genres have allowed her to experiment with everything from gospel-inspired choreography to jazz movements.
The team dives deep into "Urinetown" itself - a dark political satire about capitalism, environmental collapse, and revolution. Set in a dystopian world where severe water shortages have led to corporatized bathroom access, the show uses humor and musical theater tropes to explore serious themes about social control and activism that sometimes focuses "too hard on slogans without getting to the actual heart of the matter."
What makes this conversation particularly resonant is hearing how community theater serves as an incubator for artistic growth. From performers who thought they were "done with theater forever" after high school finding new creative avenues, to the supportive mentorship that helps first-time directors navigate production challenges, the episode beautifully captures how local theaters build tomorrow's creative leaders.
Join us for this delightful conversation and then experience "Urinetown the Musical" yourself July 5-19 at 7th Street Community Theatre. Get tickets at chinochildrenstheater.org or by calling 909-590-1149.
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Welcome to Steps to the Stage a 7th Street Community Theatre podcast. Welcome to Steps to the Stage, the podcast where we talk to the community theatre professionals you know and love. My name is Kirk and I will be your host for today, and we are so excited to talk about Urinetel the Musical, and we have the directors and creative team here. So we have Luke Hogan-Rad, we have Marcy Pinedo, we have Joey Rice, who is part of the creative team, and we have Maddie McGowan, who is part of the creative team. So welcome back. It's great to be back production and then we can go in and talk a little bit about it so that our listeners can understand what Urinetown the Musical is about. So we'll start with Luke, one of our directors.
Speaker 2:Yeah, I'm Luke Hoganrod. I am a co-director for this. It is my directorial debut and I'm an alumni here and I love being here.
Speaker 3:Yes, nice. Hello, my name is Marcy Pineda. I am the other co-director of Urinetown. It is my directorial debut as well.
Speaker 1:I love that Both of you your directorial debuts together. That's fantastic.
Speaker 4:Hello, I'm Joey Rice. I am the musical director of Urinetown. I think this is my third time being a musical director, but this is my first full musical director. The other times I was a student or assistant musical director.
Speaker 1:Okay, so first time for you being in charge, as it were.
Speaker 4:Yeah.
Speaker 1:But a pro, as it relates to the others that you've been in, and you've also been in quite a few different productions here over the years, so I'm very involved in the theater.
Speaker 5:Hi, my name is Maddie McGowan. I'm the choreographer for this show. This is, I believe, my seventh show I've choreographed and my third at Chino.
Speaker 1:Third at Chino. And just while we're talking, where have the others been at?
Speaker 5:Just the other ones have been at Luke and I's old high school, Crossroads Christian High School.
Speaker 1:Okay, wonderful. You know, of course I like to talk about the local high schools and we have our own drama department podcast that we use that we highlight a lot of the local Inland Empire theater, theater programs and that's actually been doing real well. We've done about three or four different episodes now and and they've been really picking up. So, luke, why don't you start off and just give us a little bit of a rundown of Urinetown and we'll we'll go around the horn here and get some, get some insights from this group.
Speaker 2:Yeah so Ur around the horn here and get some, get some insights from this group. Yeah so yurntown is a great show. It's um, it's a like political comedy satire.
Speaker 1:It's like a dark comedy, essentially was it a book, or was it a play originally, or what's completely original? Completely original as a, as a musical? Yes, okay, all right, so the book that the book was, or is there a book, or am I just reaching for stars? It was a play written in, okay.
Speaker 2:As far as I'm aware, I don't think there's a book.
Speaker 3:Just the musical, I'm pretty sure.
Speaker 1:And then about when was it written, do you?
Speaker 3:guys know it was 2001 that it was on Broadway.
Speaker 1:Okay so it's. Oh okay, Wonderful. Okay so political. You said Okay so political.
Speaker 2:You said, yeah, it's a satire just about capitalism and the bad things that can happen in capitalism and also just what the people should have a say over, and things like that.
Speaker 3:Okay, marcy, like revolution itself in a way and how sometimes they can be mismanaged or focus on, I guess, the not important stuff in some ways. Do you know what I'm getting at, luke? How sometimes you can focus too hard on like this is going to sound weird, but like the emotions, or on like slogans and things without getting to the actual heart of the matter.
Speaker 1:Right, you like the slogan because of the way it sounds, but you don't quite know.
Speaker 3:Activism starts to fall by the wayside Got it. Yeah, got it.
Speaker 1:Got it. So you know, you think of activism and you think of politics and you don't necessarily think of musical yes. So, joey, maybe talk to us a little bit about the music behind you're in town uh, where to start?
Speaker 4:um, it's like kind of based off of your stereotypical musical sound, I guess okay um, like, like, like, like, run, like one song run, freedom, run is kind of a stomp clamp, stop, stop, clap song. Um, I, I could see some West side story influences, like another song called snuff that girl to do a lot of snapping.
Speaker 3:Okay.
Speaker 4:Uh, but it's just kind of. It's kind of like a parody of musicals in general.
Speaker 1:Okay, I like that, I like that. And then I think I read that there is someone wrote the music separate from the individual that wrote the play. Do you guys know anything about who wrote what or any history of what they have? That's actually the first. I'm pronouncing that correctly. And then book by Greg. And is that KOTIS K-O-T-I-S. Is that? Am I reading that?
Speaker 2:right? I believe so, yes.
Speaker 1:Okay, so, um, so, any history that you guys are aware of, like other, maybe other plays or anything other things that they've written.
Speaker 2:Uh, yeah, they did. I know Yinetown was kind of like a really, really big hit for what it was, so they have another show. We just discovered this. Yeah, it's another show that they wrote together, like in 2007,.
Speaker 4:I think Okay, all right.
Speaker 2:But I don't know of anything before Urinetown that they wrote together Got it.
Speaker 1:And then it says the two of them also wrote the lyrics. So Mark wrote the music. The book was written by Greg and I think that's why I was asking about if it was a book before, just because this little bit of research that I did showed that. So you've got this music, you've got this. What can be a satire to an extent you mentioned. Let's talk a little bit about the choreography choreography.
Speaker 5:So because it jumps from genre to genre a lot.
Speaker 1:I've been having a lot of fun experimenting with a bunch of different the music itself.
Speaker 5:the genre of the music jumps Okay, so sometimes we'll have a gospel number with Run Freedom, run Snuff. That Girl's very kind of jazzy, so it's been a lot of fun having them do a bunch of different types of dances and getting to work with the cast with that.
Speaker 1:Now tell me a little bit about some of the other productions that you've done and how this relates from the choreography standpoint, and maybe a little bit about your history of why choreography.
Speaker 5:So Let me think about my answer.
Speaker 1:No problem.
Speaker 5:Can you ask the question again?
Speaker 1:Yeah. So I'd like to know you've said you've done about seven different productions, three of them here. Did I get that correct? And so I would like to hear about some of the like, how this compares to some of the other productions, because I guess one of the things we didn't talk about was cast size. What's our cast size? 16? Yeah, 16. Okay, what's our cast size 16. 16. Okay, and is it several leads or is it all ensemble or what?
Speaker 3:There's several leads.
Speaker 2:There's several leads, it's about like eight of them are leads and then eight are like ensemble.
Speaker 1:Okay, but everybody's part of the choreography, everybody's part of the music. So you've got to get these 16 together, depending on how that works together in the different genres. So the question that I had was kind of your history of choreography and maybe some of the other productions and how it relates or doesn't relate or maybe different than what you've dealt with before.
Speaker 5:So Urinetown is actually probably one of the favorite shows that I've choreographed. Out of all of them, I really enjoyed working with Urinetown.
Speaker 1:And you've done this production before, or is this the?
Speaker 5:first time, the first time I've done here in town.
Speaker 1:All right and I love, but it's the best yes, might be because of the people in front of me, but no, I'm being completely serious when I say this um, I love the cast.
Speaker 5:I like working with people in my age range. Normally I work with high schoolers and younger, so having people like high school to college range has been very nice. This is one of the more dance heavy shows that I've done, because sometimes I get junior shows. So the last few shows I've worked on were junior shows at Chino Community Theater and then my most dance heavy show has been Tuck Everlasting at Crossroads.
Speaker 1:Okay, so that one. We had that production here about a year ago.
Speaker 5:Yes, so that one compared to this one. Those were my two favorite productions, just because I get a lot more freedom and I get to work with like longer dance numbers. So I've been having a lot more fun working with Urinetown Not to say the other ones haven't been as fun, but it's very, it's very nice having that freedom and your dance background.
Speaker 1:is it primarily theater or were you also? Involved in ballet or other types of dance or is it primarily theater dance.
Speaker 5:My dance background comes from. I used to do theater at Cat of Corona, so I've taken a lot of dance classes there. Most of it is musical theater based, so that's where it comes from.
Speaker 1:Okay, great. And then I know Joey has a pretty extensive background as it relates to music and being involved in the choirs in high school as well as in college, because I know I've been to a lot of your performances as my daughter was a part of it and have been able to travel around and see you perform. But what I would really like to know is, now that you've done a few of these as a co or as a student and now you're the musical director, like tell me how that relates to what you working with Iola choir and with the Mount SAC choir and how that's helped prepare you for this.
Speaker 4:Oh, it couldn't be any more different, really, okay, well, because it's because, instead of being the one sitting down, I'm the one in front of everyone. This time around the most similar experiences I've had. I've definitely been here where I've been an assistant musical director, but the biggest difference really is the size of the cast. Most of the time I would work with like either four people or Small groups of people that we're specific to.
Speaker 4:Okay, but now I'm working with like 16 people. I have to keep keep like, oh, these five people need to do these parts, these other five need to do these parts, and it just scrambles my brain, cause usually I'm the one. Oh, I just need to learn tenor today, like I'm not really thinking about all these four.
Speaker 1:Well, and then the other difference, too, is you know your experiences with people that are in choir. They've gone through some type of audition process, not that that your cast hasn't, but they have a pretty significant background in music, and so I imagine you have to guide a few people along that maybe don't have the same schooling or the same experience in that realm yeah, so I always have to keep that in mind too.
Speaker 1:Usually I don't like to throw just like term is around and I'm right, cause they're not going to necessarily know what that terminology is.
Speaker 4:Yeah, I think my very first rehearsal. I went over like the very basic music theory. I went over like a like, like subdivisions and things like that. And some people just didn't know what that was and of course I thought of that, so that's why I went over that. But uh, yeah, you're right, it's a bunch of different people with different levels of background in music.
Speaker 1:Yeah, but I'm sure also very skilled. And I mean we're so lucky here at this theater and just in the Inland Empire in general because we do support the arts so much. You get people that come from maybe you know working in the choir or another background. So, marcy and Luke, you guys have been here for a long time. I know, cause I've been here for a long time and I remember watching you guys grow up in in other productions, and so you've acted. You've now helped, you're helping with camps currently. You know you guys have been involved in theater in general for quite some time, but now you're the director, right? All these people that we've looked up to for all these years, that have been our directors, right? Joey's mom, donna, the Larsons, jesse, all those people that have been a part of this. So I'd love to know where you guys are at with all this, because it's got to be quite the step.
Speaker 3:It is very different.
Speaker 1:Okay, I say that.
Speaker 3:Extremely different. Yes, it's a lot to get used to. There's definitely moments where me I don't know about you, Luke, but I definitely forget that I'm the adult in the room. Yes For a minute there, yeah, I can see that.
Speaker 2:And like it's strange, because we were like we had a meeting just with all the season directors and they were like get us your schedules by this day and we were like we have to make a schedule.
Speaker 1:Like, you want us to make the schedules and supply it to you, we're not being told.
Speaker 2:So it was like crazy and then it was like, who do you want on crew? And then we had to really think like, oh, we're in charge.
Speaker 1:Think about that. Yeah, I mean because I think when you make that decision, right, like, okay, I'm going to direct, and you're so focused on the artistic development of it, right, you're so like, okay, this is how this particular production affected me when I saw it for the first time, or read it, or whatever. And now how am I going to get this group of people that I'm casting to kind of, you know, make this vision come true? But you forget, yeah, you got to make sure and secure, you know, the rehearsal space. You got to make sure and get the rights. You got to make sure and get the music. You got to make sure and get you know. And then some of the other areas that we're going to talk about. You got to do the design. You got to do the costumes. You got to do the music. You got to do the. You know, you got to be involved, even though you have other people that are helping you. It's your creative direction.
Speaker 3:There's so much stuff that you don't think about like right away. Yeah.
Speaker 1:Yeah, you know, but I think how lucky we've been to have such great mentors along the way as well as here now, right, Because that's got to feel good, that you know in a heartbeat you can call someone and they can help you out, Right, I mean? And Maddie too. You talked about cat and we have so many people that have been involved in our theater, that are involved over there. I really see that you know, doing this podcast and seeing, following all the theater programs as well as the school ones, it's just great to see that crossover and to see different people. So, yeah, so a big step. So you haven't opened. You're a week or so away. How are you feeling?
Speaker 3:Tech starts tonight Very exciting Tech starts tonight.
Speaker 2:Start tech Wow.
Speaker 1:By your reaction. Obviously you guys can't believe you're here.
Speaker 2:Yeah.
Speaker 3:I keep telling Marcy, we keep having moments where we're like, oh, this is a real show we did set build this last weekend and we were like whoa. They put the title up on the marquee and we're like oh whoa, it's happening, it's really happening.
Speaker 2:It's really cool because it's like we had a meeting at a random restaurant a year ago planning this yeah, I was gonna ask like what, what?
Speaker 1:what got you?
Speaker 3:here? Yeah, I received a text from luke last june or august, maybe. Yeah, that was literally just. Hey, I'm thinking about submitting a show and you seem like a really cool person to work with. What do do you think? Heck? Yeah, absolutely Nice, wouldn't I? Yeah?
Speaker 2:So I reached out. Honestly, props to my sister, sarah Hoganrod, because she told me hey, if you want to co-direct with someone like Marcy's probably a great person to do it with, yes, and I was like that's actually a great point.
Speaker 3:Yeah, she has a little experience. Two of us worked together on Spelling Bee like a year or so prior, that's right, that's right, that's right, and I think Joey was in that production as well.
Speaker 4:Yes he was. I love Spelling Bee, so yeah, oh, that's great.
Speaker 1:And so did you guys select Urinetown, or was that something the theater offered you?
Speaker 3:I had a pitch for Urinetown a year or two earlier. That fell. By the way, it didn't get rejected or anything.
Speaker 1:Right, just wasn't time.
Speaker 3:It wasn't time, yeah, and so when Luke texted me, I said funny, you should mention I have you're in town in my back pocket. Yeah, if you're interested.
Speaker 1:Wow and yeah, so for our listeners, so that they know if, if you've been listening for a while, you know we do our season reveal episodes and whatnot, and so it's actually a full process that most theaters go through this process. Even you know your Broadway's and your regionals and the professional theaters where they go through and they look at the slate of opportunities, who's available, as you know, the creative team, production team, things of that nature. So we go through the same process here at 7th Street Theater for both the adult and the children's theater, and they have a committee that reviews it all, and so, yeah, it just wasn't time, and now it is time, and now here we are, so just fantastic. So let's get into a little bit of the rest, because you talked about all of the responsibilities you have. Right, you guys did set build. Let's talk about the set design, who's involved in that and kind of what your vision was.
Speaker 1:Our set designer is Maya Timboken. Okay, wonderful, and Maya has been doing stuff for quite some time, many years now. So talented, so talented, almost five years I think and didn't she start just kind of painting? Yeah, and we everyone realized how talented she was and now she's doing full. Now is this her first full set design? I don't believe so.
Speaker 3:Yeah, I feel like she's done.
Speaker 2:She did Mole Hill.
Speaker 1:Mole.
Speaker 3:Hill.
Speaker 2:And then I think she also did Chitty, that's right, and Jessie did mention that.
Speaker 1:Okay, just again, sorry, I'm obviously pushing our theater. And how wonderful they are Like this is what we want. We want to develop.
Speaker 2:We want to develop.
Speaker 1:We want you to come in in camps, we want you to understand the magic. And then you do your end of the week production and you realize we need lights, we need sound, we need set, we need costumes, we need all we need to market, we need to get mom and dad and grandma and grandpa and everybody to come. It's like there's so much to it. And then they audition for something else. And now you guys, you guys, a lot of you guys have been through a lot of this. I know my kids have, because they started essentially with camps or being involved in a camp of sorts. And now here you are and you guys are doing this. And then you know, also with my kids I talk about, you know they're going to school and have degrees and so this is what they want to do professionally and there's great opportunities out there. So I think that's fantastic.
Speaker 1:Let's shift back to the choreography and let's do. You and Joey have to work the music and the choreography. Do you guys have to get together and kind of figure how do you guys work together? Being that the choreography is happening to the music and the choreography, do you guys have to get together and kind of figure how do you guys work together, beings that the choreography is happening to the music and vice versa, or is there it's been happening more recently, because we're discovering that I'm uh, uh, because, well, the thing is, we're given tracks by the, by the company.
Speaker 4:They're called fti right, uh and uh, uh, we're discovering. Oh wait, this is different from the tracks you've been using. So we have been working together more recently, but earlier on no, not necessarily. No, we weren't really working together, but it's happening now.
Speaker 1:Got it? Yeah, I have to imagine especially, like you know, because I perform as well as a musician and like just learning a song and playing the guitar and singing and I have to phrase things differently because of the way I'm playing I have to imagine there's some of that when you're working on the blocking and you're working on when I get my breath and when I'm going to sing this and when I do that and how you bring all those together. Yeah, going back, I'm sorry, I'm kind of jumping all around, but on the choreography side, have you been in a number of productions yourself? Yes, okay, and was that the kind of the starter, the motivator to that?
Speaker 5:So my first show ever was back at Cat in 2015. I was in Mary Poppins, so I've been doing shows for Another show we've had on this stage yes, I've been doing shows there and as well as crossroads, so I believe I've done like Hmm, I don't know, it's probably around 14 shows that I've been in um throughout my time. And after I graduated high school I thought I was done with theater forever. I was like I'm never doing theater again, like I'm done being in shows, I don't have anything else to do because I'm not going into college for theater and then this avenue kind of opened up where I get to keep doing it through choreography.
Speaker 5:So it's been nice to extend that through dance.
Speaker 1:So now I'm going to go back into the set design and the choreography and working on our stage. Did any of that have to come into play? That you needed to see how the stage was going to be set, to work on some of the choreography?
Speaker 5:Yeah, so I feel like I was always asking so what does the set look like? Again, so I know where to put them on stage. I like to know generally what platforms we have. I like to use as much as the stage as possible, the platforms, the aisles, the audience we're using as well. So I just like to know everything so we can use it to the fullest extent.
Speaker 1:Right, Great. So you did set build this past weekend. You said Maya helped out and everything. The process was good. You're happy with where we're at right. We're doing tech tonight, so you're really going to see how're at right, we're doing tech tonight, so you're really going to see how it works. Uh, um, what about costuming?
Speaker 3:uh, debbie horner is debbie designer fantastic isn't, she, isn't she.
Speaker 1:I know marley has worked with her a number of times and you know that's just. We have just great resources in this community theater. Yeah, that's good and you're happy. So, uh, you're in 10. What's is it what? 80s, 90s, what's what's the?
Speaker 3:timeless time has sort of stopped in a way so it's almost post apocalyptic. So there is there is a point where, like thing, culture as we know it, has kind of stopped moving forward.
Speaker 2:Okay, but like, central idea is that the world is running out of water.
Speaker 3:Yeah, there was a drought about 20 years ago. Yes, and we're still feeling the fallouts of that.
Speaker 2:So things like production of like clothes and things aren't necessarily as necessary because we need to figure out how to deal with the water shortage.
Speaker 1:That's got to be difficult. Yeah, do you get guidance at all in any of the information that you have, or is it Not?
Speaker 3:necessarily. I mean of course, we have other productions.
Speaker 2:Other productions that you've watched.
Speaker 3:But there's not anything in, I think, the script itself that's like Okay, this is what this?
Speaker 2:should look like we have some like Time period. Really crazy names.
Speaker 4:Yes, that like kind of help.
Speaker 2:Like we have Hot Blades, harry, soupy, sue, little Becky, two-shoes, so like crazy names, that like maybe we can come up with something from that. But it's a lot of stains, a lot of ripping clothes, yes, a lot of sound things.
Speaker 3:The sort of I don't know the sort of language we decided on was people sort of pick up what they find whenever they can find it and keep that with them With that and that, wow, they can find it and keep that with them, with that, yeah, and that, oh, wow. So, like, each character has like a journey you know what I mean Of like where each piece has come from, right, yeah, what it means to them, right.
Speaker 1:So that had to take a little bit of discussion to really decide which how that was going to go. I mean, we're fortunate that we've got some storage here to get some good costumes and obviously we've got some good, experienced customers that can help us find what we need to. Who else is on the creative team or anyone else that you guys?
Speaker 2:want to talk about in their roles. Marley is our producer, marley.
Speaker 1:I know Marley.
Speaker 2:Yes, it's actually been really really nice because, since it's our debut, for a lot of questions we can ask.
Speaker 3:Marley. She's so much more experienced than we are. We can ask Marlee.
Speaker 1:She's so much more experienced than we are and she's such a resource and it's her first time producing, but obviously she's been so involved you would not know it. Yeah Well, I mean, maybe her mom's done a few shows.
Speaker 1:Maybe she's got a little bit of experience with that, but that's great to hear, and Marlee is definitely has an attention to detail. That I think is important. And then an experience as well as, like all of you guys, you've come as actors, you've come as, you've helped with costumes, you've helped with music, you've helped with choreography, you've co-directed. Now you're directing. You've helped with tech, you've helped with everything. I really think that helps, though, as you're going in, especially as directors, right, you understand, in this theater in particular, right, you've got a smaller stage than normal. How are we going to make this work? So I think it helps to have that experience and I'm glad Marley has helped you on that side.
Speaker 2:And then our other designers. We have Bella Navarez as our sound designer and then our light designers. Kind of split between Sid Burr, who's in the cast, yes.
Speaker 1:Oh, wonderful.
Speaker 2:So they've been doing both learning the show blocking and everything, but also going to the booth and doing lights. The two of you have had very busy days. Yes, they're actually here right now doing lights. That's fantastic.
Speaker 1:Yeah, yeah, that's fantastic, your cast. Are they any newbies, as it were, or are they all seasoned A?
Speaker 2:handful. Yeah, so we actually have one of our cast members. It's their very first show ever Love it. So that's great to work with, yeah, and then we have like probably three or four people who have never done a show here that came to audition.
Speaker 1:I, having had that experience several years ago, as you know, performing in the first time, I think it's got to bring a great dynamic in that you have that energy of someone that's been doing it for a long time, who may be a little jaded and may have kind of not feeling the magic. When they're around someone who's new and has that, then they kind of take them under their wings and say, oh, this is what Joey mentioned it earlier. Right, you can't be throwing out terminology and stuff all the time without really helping them through it. I remember that my first rehearsals I had to grab someone after and be like what does this mean? What does this mean? What is that stage? Who's stage left, stage right? What are you talking about? Blocking, we're going to throw blocks at each other. I don't get this.
Speaker 1:There is, there is a terminology that comes along in in well, in anything in general, any work, any art form, so especially in theater as well. But that's gotta be nice to have that mix of energies, as it were, to kind of bring everyone together. I've always said this too, and what I love and I'm excited for you guys to experience is I did a lot of sports growing up and a production feels like a season right, and like you have those memories of what happened and like you will have a connection with these people for the rest of your life. I still see people that I was in in Mamma Mia back in 2019, that we're still great friends because of that connection, and whenever you see your fellow cast members or directors or anything like that, it just just gives you this amazing, great feeling inside.
Speaker 1:Well, you guys, we're coming to our an end of our wonderful discussion here, but I'd love to know a little bit more, because I know our audience wants to come and see this production. So let's talk about the dates and let's talk about how they can get tickets. We open on July 5th Okay, and that's a Saturday yes, okay. After July 4th Okay, and that's Saturday Saturday yes, okay. After July 4th yes, what?
Speaker 3:do you know that seems to be a holiday around here for some reason.
Speaker 2:But yeah, we open July 5th, yes, and then we close July 19th.
Speaker 1:July 19th.
Speaker 2:So we have I think it's three weekends of shows.
Speaker 1:Okay, and then I see you also have some matinees July 6th and the 13th at 2.30 pm, and then tickets, we can call the box office at 909-590-1149. And if you would like to visit the website chinochildrenstheaterorg and you can get your tickets right, yeah, cool, anything else you guys want to share with our audience?
Speaker 4:I think it's really funny you bring up how shows are like seasons, because I feel like I keep track of time, not via years but via shows. I'm like, oh yeah, this thing happened before Spelling Bee.
Speaker 3:I love that I was trying to figure out what Anderson Gables was.
Speaker 2:Yeah.
Speaker 3:Well, that was 2019, because I did this show before that and that show after that and you connect like life moments with oh yeah, that's when I did Mamma Mia.
Speaker 4:That's when.
Speaker 1:I did Yuppie Store. That's a great. That's a very astute point there. Very astute point there. Mr Joey, you guys, thank you so much for spending some time with us. Thank you for having us. Hey, it is such a pleasure and you guys get out there and come see this amazing production. You're in town, the musical opening July 5th and going through July 19th, so get your tickets, come on down, support the arts, support live theater, and thank you all so much for being with us today.
Speaker 2:Thank you, thank you, thank you.
Speaker 1:Thanks for listening to steps to the stage. You, thank you, thank you, thank you. Thanks for listening to Steps to the Stage, a 7th Street Community Theatre podcast. Follow us on your favorite podcast platform and leave us a review and a five-star rating. It really helps. You can also find us on Instagram, facebook and YouTube. Special thanks to Chino Community Theatre and Chino Community Children's. Thank you.
