The North American Tour of “Anastasia” | Talks at Google


[MUSIC PLAYING] [LILA COOGAN SINGING “IN MY
DREAMS”] [APPLAUSE] SPEAKER 1: That was awesome. LILA COOGAN: Thank you. SPEAKER 1: So Lila,
the musical is based on two films of the
same name, and of course, the legend of Anastasia. What makes this stage
adaptation different from the previous incarnations? LILA COOGAN: I
think, definitely, the film that people are
most familiar with would be the cartoon from 1997. And I think what really sets
our show apart from these two other adaptations of this legend
was that we really rooted it in reality. Everything is centered
around the fact that these people are in a
incredibly difficult time to be alive. The Russian
Revolution was brutal. It was cutthroat. And I think that Terrence,
and Lynn, and Stephen really made sure that that reality is
underneath everything that we do, even little
things like there was a Gleb in Anastasia’s life. It was one of
their guards’ sons. They used that name to loop
in some actual history. And I just think that
that is incredibly important to our production. SPEAKER 1: You play Anya. LILA COOGAN: I do. SPEAKER 1: Tell us about her. LILA COOGAN: She is spunky. She is so determined, like
the most determined person I think I’ve ever had
the opportunity to play. She is also overwhelmingly
compassionate. And I think that
that is something I learned about her through
our rehearsal process and fell in love
with, because I do think that compassion
is something we should all lead with. And so being able to
demonstrate such compassion on stage, especially for
audience members, it’s just– it’s a privilege and an honor. SPEAKER 1: A lot of
people who might not have seen the show think
of Anastasia as a princess. Is she a princess? LILA COOGAN: She is. And I think what’s awesome
about Anya/Anastasia is that she isn’t your
stereotypical princess. She’s definitely got a
little bit more bite to her than I think most royalty
usually demonstrates. And I think what I love is that
it shows young women everywhere that even if you’re not the
stereotypical demographic of a princess, you can still
be a princess if that’s something you want to be. SPEAKER 1: When did you first
come to learn about Anastasia, the original story, the films? LILA COOGAN: My first experience
was the cartoon for sure. And I was obsessed with it, so– SPEAKER 1: And how did you
hear about the musical? LILA COOGAN: So I was
graduating college. And I heard that they
were making it a musical. And I was obviously excited,
because I loved the film. And then I heard it was
going to be a new story, so that was really
intriguing to me. And yeah, so that’s when I
first heard about the musical. I’ve also been blessed and
have worked with Lynn Ahrens and Stephen Flaherty before. So I was just excited for them
to have another project coming to Broadway. SPEAKER 1: That’s awesome. Tell us about the
audition process and finding out that you’d
be leading the company on the first national tour. LILA COOGAN: The
audition process was insane in the best way. I was really blessed. I kind of lucked
into the audition. I really didn’t think I was
even going to be seen for Anya. I was kind of like,
I’ll go for the standby. That would be awesome. But I went in. And I worked with Tom
Murray on the songs that you’ll hear me sing today,
“In My Dreams” and “Journey to the Past.” And he was like, all right,
I’m sending you along your way to Darko, and Lynn, and Stephen. And it was funny, because
Lynn and Stephen had no idea that I was coming in. So when they saw
me, they were like, oh my god, oh my god, oh my god! Because I had worked
with them when I was 16. So the last time they saw me
was when I was a teenager. So they were like, oh
my god, you’ve grown up, all these things. And it was almost like coming
home for me, seeing them. And it just made me realize,
if this is meant to be, it’s meant to be. But at least I get to see
Lynn and Stephen again. And I get to work on
material that I love. And yeah, it was really
a coming home for me. SPEAKER 1: The show
first premiered in Hartford, Connecticut in
2016 and then opened on Broadway in March 2017. Now the show is on tour
across North America. What has it been like
to bring this show to cities across the country? LILA COOGAN: It’s
overwhelmingly humbling. It’s something that– I mean, I grew up in New York. So I have never
really experienced touring productions
or anything like that. So to get to have
the privilege to do that is really incredible. And also, just to bring a story
that so many people would not be able to see unless
it were on the road is an incredible responsibility. And yeah, I just– I’ve loved every minute of it. And I love working with my cast. And it’s just been great. SPEAKER 1: What has been
the reaction of audiences across the country? LILA COOGAN: They love it. We have the best, best,
best fans of this show. They really relate to
Anya, or Dmitry, or Gleb. And I think that
that’s what makes this production so awesome
to work on and so special. Yeah, it’s been
really wonderful. We’ve been very blessed. SPEAKER 1: What is different
about your experience in New York versus traveling
with this touring production? STEPHEN BROWER: So different. I did the Broadway production. I was the understudy to Dmitry. So I was in the
ensemble for a while. I was only there for
about four months, but it was my Broadway debut. So it was really exciting,
and also disillusioning at the same time. [CHUCKLING] But it was a really
special experience. And I was walking into a
community that had already been founded, like, the
relationships had already been made. The show was totally set. So they really
just plugged me in. They were like, here
are your numbers. Here are your costumes. Boom, you’re in the show. So it’s been awesome to
get to revisit the role, have a couple months off,
have an entire new energy with this cast. And Sarah Hartman, our
resident director, is amazing, and our stage manager. And having just a
clean slate when we go into rehearsals,
no expectations, and redoing the whole thing
has been really freeing. It’s been an awesome experience. SPEAKER 1: Lynn Ahrens
and Steve Flaherty wrote several new songs
for this stage adaptation. Tell us about this
new original music and what it has
been like working with Ahrens and Flaherty. STEPHEN BROWER: They have
19 new songs in the show. SPEAKER 1: Wow. STEPHEN BROWER: Only
five of the songs in the show are from
the original movie. But the music fits
in so beautifully. Like, that song that you
just heard Lila sing, that sounds like it’s
from the original cartoon. Working with them
has been awesome. It’s a dream come true. I mean, you mentioned “Ragtime.” But I did that show
in high school, which, if you’ve ever seen it,
I hope that you didn’t see it at a high school. SPEAKER 1: [LAUGHTER] STEPHEN BROWER: But still,
nevertheless, the music– I never knew that
theater could tell such heavy, emotional,
meaningful, specific stories. I mean, their music
is so specific and so storytelling-driven
that working with them has just been– I just feel like a little kid
every time they’re in the room. I’m like, oh, they’re here. But it’s been so cool. And the music is glorious,
and challenging, and really exciting for the audience. I think, if you come
to see the show, you’re going to walk
away with a lot of tunes stuck in your head. SPEAKER 1: Speaking
of tunes that are going to be stuck in our head– STEPHEN BROWER: Oh, god. SPEAKER 1: I think it’s time
to hear “My Petersburg.” STEPHEN BROWER: All right. LILA COOGAN: Yay! Woo! [APPLAUSE] STEPHEN BROWER: So we just ran
into some other street rats and got in a little fight. And she showed how aggressive
and feisty she can be, which is cool to Dmitry. But then she says
that I have it easy. And she knows nothing about me. So that leads into this song. [STEPHEN BROWER SINGING “MY
PETERSBURG”] [APPLAUSE] SPEAKER 1: So question
for Jason and Stephen– Anya is certainly the central
character in this production. But the men she comes
into contact with play significant
roles in the story. Can you explain what each
of these guys want from Anya and how that plays out
through the journey? JASON MICHAEL EVANS:
I think, for Gleb, she represents, possibly,
a sense of normalcy, potentially, in his life. From the moment he meets
her, he is taken by her. He’s entranced by just her
demeanor, her toughness. And in the same
sense as Dmitry, Gleb has had a very hard childhood–
parents passing away, traumatic events,
things like that. And he’s so focused on the
military and the regime right now, the moment he
meets her, I think he thinks, wow, my life has a
chance of being normal. Because he’s feeling
things he had never felt for anyone before. So for him, she
represents a conflict, of course, once he
finds out who she is or who she’s pretending to be,
because he has this civic duty to do away with her. But his feelings
from the moment he first saw her were very intense. So he’s constantly
teetering back and forth throughout the
entirety of the show– his duty to his heart or
his duty to his country? STEPHEN BROWER: I
think, for Dmitry, kind of similarly, at first, he
sees in Anya this opportunity. And he manipulates
her, or tries to. And me and my best
friend, Vlad– he’s the ex-aristocrat
you were talking about– we sort of put sparkly
things in her eyes and try and make her princess. And we try and play it
off and manipulate her into thinking that she could
be the Grand Duchess Anastasia. And then, once we get to Paris,
once we get out of Russia, and Dmitry has
achieved his goal, there’s still another
act of the show left. And he finds himself with
feelings for this girl that he didn’t know that he had. He thought that she was a
prop to him, a way to get out of Russia. And now he’s really
invested in her story. And she brings out
of him this nobility and this vulnerability
that you don’t see in the first half
of the show, because– I think it’s really cool. You were talking
about, you know, she’s not the typical
princess, because I think, in a lot of typical
princess movies or stories, the princess is sort of
susceptible to whatever the prince is doing. And in this, it’s
sort of the opposite. It’s we’re susceptible
to her actions. And she changes us. So it’s really cool. SPEAKER 1: Jason? JASON MICHAEL EVANS: Yes? SPEAKER 1: Who is Gleb? JASON MICHAEL EVANS: So Gleb is
a young, up-and-coming Soviet officer. His father was actually
one of the guards who carried out the mass
assassination on the Romanov family. And then his father had a
bit of a mental breakdown and took his own life. So Gleb’s aim is to sort of
avenge his father’s legacy. SPEAKER 1: Is he a villain? Or is he misunderstood? JASON MICHAEL EVANS:
I would call him a hurdle to the protagonist. I wouldn’t call him
a villain, per se. Even in the breadth
of the show, I don’t think he could be
considered a bad guy, let alone myself
considering him one. I would just call him an intense
dude who’s pretty conflicted. SPEAKER 1: What do
you like about him? JASON MICHAEL EVANS: I
like a lot about him. I love his journey. From where he starts
to where he ends, it is such a wondrous arc for
a character who really doesn’t have that much stage time. SPEAKER 1: Gleb does not
exist in the animated film. JASON MICHAEL EVANS: No. SPEAKER 1: Do you know why the
playwright, Terrence McNally, chose to axe Bartoks
and Rasputin? JASON MICHAEL
EVANS: I assume it’s because what Lila was
saying at the beginning is that they’re going for
a fictionalized realism for this tale, loosely
based in history. And Rasputin died,
I believe, 10 years before the bulk of
this show takes place. I think he died in
either 1918 or 1919. So in the movie, he’s
portrayed as a ghost, in the animated film. So it would be a lot harder
to pull off the realism aspect that they were going for, if
you have a ghost and his bat– STEPHEN BROWER: Tiny bat. JASON MICHAEL EVANS: –sidekick
floating around stage. And that’s not to say that
those aren’t wonderful, wonderful characters. But they are meant for
an animated audience, whereas this is meant
for a real audience. I mean, it’s a
show for all ages. But it might take you out
of the realness of it all. So they needed a new protagonist
who you could connect with, who wasn’t a caricature, like so
many animated antagonists are. So you needed a guy, a real guy,
who was just bad by association for what he believed and
what his uniform said, but might have a good heart. SPEAKER 1: Thank you. Joy? JOY FRANZ: Hi. SPEAKER 1: You play
the Dowager Empress. What are the Dowager
Empress’s greatest qualities? And what do you like about her? JOY FRANZ: Well, she
was very compassionate. She had a great sense of humor. She was gregarious. She was smart. And she was also helping people. And I think those
qualities are wonderful. SPEAKER 1: You have
such a robust resume– “Into the Woods,” “Guys
and Dolls,” “Pippin,” “Damn Yankees,” “The Sound of Music.” You’ve performed in New
York, on tour, in television, and in films. What makes this experience
with “Anastasia” special? JOY FRANZ: Oh my gosh. This show is the
most glorious show. It is so full of love and
home, and of the journey of finding yourself, and also
staying true to your heart, and to keep following
your dreams. I think it’s a very
inspirational story for everyone. When we talk to people after the
show, and we sign autographs, they are inspired by this
show to find their truth. And the brave of Anastasia– I mean, for a young woman
to have marched across Paris to get to Russia and
to follow her dreams, it’s just a thrilling show. It’s so beautiful– the music,
the lyrics, the lighting, the costumes. I mean, I think
it’s a perfect show. SPEAKER 1: You have
the opportunity to perform with two very
talented, very young actresses in this production. Tell us about working with
the little Anastasias. JOY FRANZ: Oh my gosh,
it’s so exciting. Oh, to see their little
faces every night and get to look into those eyes. And they are so in the moment. And that’s another thing. Everyone in this show
is in the moment. But I’m going back to the girls. Oh my god, these little girls. I just want to squeeze
them and take them home. Delilah Pellow and also
Addison Valentino– those are the two
young ladies that are getting to play
little Anastasia. And so when I sing that
first song in the show, they just look you
right in the eyes and you can’t help but
fall in love with them. And I’m crazy about them. And I will always
be in their lives. SPEAKER 1: Lila and Joy, tell us
about the special relationship between Anya and her grandmother
and how that fuels the story. LILA COOGAN: Yeah. So like Joy said, Anastasia
was the Dowager Empress’s favorite granddaughter. And so in her youth, Anastasia
had a very special bond with her. I believe it’s because
they were very similar. The Dowager’s stubborn
like Anastasia. But the Dowager’s also
overwhelmingly compassionate. And I think that that’s
where Anastasia really got those qualities. Even in her– towards the end
of her life, when she could, she would volunteer at Red
Cross, and nurse, and things like that. So she was a very
compassionate girl. And I do believe it came
from her grandmother. And in terms of Anya,
Anya only wants her family in the beginning of the show. All she wants is
to know who she is and where she belongs so
she can be with her family. So when she finally
gets to meet someone who looks like her,
talks like her, acts like her, in a world
where not a lot of women were like that, I
think she immediately is like, you have to
be who I’m looking for. And I think that that’s
what draws them together, is Anya’s drive
to find her family and the Dowager’s drive to
find her family as well, in a different way. JOY FRANZ: Well, she’s
trying to find Anastasia. LILA COOGAN: Yeah. JOY FRANZ: I mean,
she put out rewards, a huge amount of money. And so a lot of
young women would write from all over
the countries and– saying that they were Anastasia. And so by the time I
actually get to meet Anya, this young woman,
I still don’t– I’ve gotten to the point where
I don’t believe she exists. But I will listen to her,
this one, one time more. And by that time, I do
accept her as Anastasia. SPEAKER 1: Being part
of a touring production is a unique experience
for a performer. You are traveling
with and performing with each other
nearly every day. What makes this
experience special? And what have you
learned from each other? LILA COOGAN: I think
we all really love each other, which
I think, usually, casts have love for each other. But I think when you’re thrown
into a touring environment, I do really feel like we have
to be family for one another. We have to be able
to rely on each other when we’re in time of need
or anything like that. And I just do feel an
overwhelming amount of love from every company member. SPEAKER 1: This musical is
now playing across the globe. There are now productions
in the US, Spain, Germany, and the Netherlands. Why does this musical
and its message have such a worldwide appeal? LILA COOGAN: Well, I think
the legend of Anastasia in and of itself, this
resurrection of a girl who lost her life so young, is
relatable to anyone, anywhere. And I have the
privilege of knowing Jana in Spain and Judith in
Germany, who play the two Anyas in Germany and Spain. And we’ve talked
about how it’s just– this role is just such an
incredible story and character to relate to. And I think that that’s
why it does well globally. [LAUGHTER] JASON MICHAEL EVANS: I agree. STEPHEN BROWER: It’s
really rare, I think, that a production does
what this team has done, to just put a
bunch of productions out there internationally. It doesn’t usually do that. It might go like West End,
Broadway, national tour, one after the other,
closing and opening. And this is like, everyone’s
going to love this. And they do. I don’t know how they
had that know-how. But I think also
the animated movie, everyone thinks of so fondly. And that’s, I get messages
from people on Instagram like, come to Australia. I’m like, OK, sure,
I would love to. LILA COOGAN: Every day. SPEAKER 1: And the
final question– what is the heart of this musical? LILA COOGAN: Family. STEPHEN BROWER: Bartok. JOY FRANZ: Love. [LAUGHTER] JASON MICHAEL EVANS: I’m
going to go with home. STEPHEN BROWER: Home,
love, family, and Bartok. What they said. LILA COOGAN: But I do think
home, love, and family are all basically
the same thing. JASON MICHAEL EVANS: Well, yeah. JOY FRANZ: Absolutely. LILA COOGAN: Do you
know what I mean? JASON MICHAEL EVANS: Because
what this musical talks about is that she spends the whole
show looking for her blood family. But what she ends up
finding throughout all these other people are that you
can also have a chosen family. That’s the beauty of life
and love in the same way. You were born, and you will
love your parents forever. But you can also grow
to love people who aren’t your blood relatives. You can meet people,
and grow to love them, and have them be your home,
and have them be your family. LILA COOGAN: Yeah. Absolutely. JOY FRANZ: Absolutely. LILA COOGAN: Jinkies. SPEAKER 1: Awesome. Lastly, we’ll have Lila
perform “Journey to the Past.” [LILA COOGAN SINGING “JOURNEY TO
THE PAST”] [APPLAUSE] SPEAKER 1: We have a few minutes
open for Q&A from the audience. So we’ll move into that
portion of our talk. AUDIENCE: Lila, singing “Journey
of the Past,” Aaliyah sung that and won awards for it. So how was it living up to that? And for all of you, how
was it living up to a movie that people know so
well and love so much? LILA COOGAN: There’s been three
women from the United States that have gotten to sing
“Journey to the Past” and bring it to its fame. So Liz Calloway, Aaliyah,
and Christy Altomare. So coming after the
three of them is– it’s definitely a little daunting,
because they’re all amazing. So I think what really helped me
was to really be true to myself and to make the character
and the part my own. So I saw the Broadway show once. And that was like
right when it opened, so long before I was ever even– it was even on my radar that
it was going to be a tour. And I really honestly
tried to stay away from the soundtrack, or
the show, or the movie, just so I could make it my own. And now I kind of want to
go back and see it again, now that I feel like
I’ve figured out my Anya. And that’s the other
thing, is our creative team was very, very adamant
and supportive that we have the privilege
to make it our own. And that’s not always the case. So a lot of that also
stems from the fact that our creatives were
like, yes, do it differently. Do what you need to
do to make it yours. AUDIENCE: So I know
whenever you’re able to kind of
take up residence within a specific theater,
before you go on and perform, you have very specific
routines and regimens that you make sure you
do throughout the day. When you’re on a
traveling show, I’m sure that throws a wrench in
your plan every single day. So how do you create
that sense of normalcy for yourself before
you go on stage? JOY FRANZ: It’s always a relief
when we get to a new theater to see the set. Then it’s like,
oh, god, I’m home. And it’s like– because each
theater is so different, and it’s like a maze. And to find my way around,
I need a guide dog. It’s like, oh my god. Where am I? Well, it’s challenging
traveling from city to city, to tell you the truth. But knowing that we are
a family is a grounding. And doing the show, and
telling this amazing story, and getting to sing these
beautiful songs, that grounds me. STEPHEN BROWER:
I agree with you. Once I’m on stage, I feel fine. But the backstage
is always different. The dressers are
always different. The first night is a
small disaster every night before the show. I mean, for me, at least. And we have not a
lot of time to do a sound check and
an orientation, just to get our feet
wet in the theater. And then it’s time to do it. But once I’m on
stage, it’s fine. But I think we all
have our tricks for how we live on the road. I have found that I love to
do Airbnbs instead of live in hotel rooms, because
nothing is more soul sucking to me than just living,
eating, breathing all in the same room, all day long. So that’s the one thing that I
do that really keeps me sane, is have a kitchen
or a family room. That’s a big difference. JOY FRANZ: Oh, yes. Kitchens are very important. JASON MICHAEL EVANS: Yes,
that’s very important. STEPHEN BROWER: And we
don’t always get them. JOY FRANZ: I travel with a
double burner and a skillet. And I’m not the only one. LILA COOGAN: No. JOY FRANZ: I make food. Don’t tell the hotels. LILA COOGAN: Don’t
tell them this. Sorry, [? Erin. ?] JOY FRANZ: Anyway,
yes, it’s grounding to be able to have normalcy,
being able to get up and make my breakfast and– STEPHEN BROWER: Laundry. JOY FRANZ: Laundry. STEPHEN BROWER: God, I never
thought I’d like doing laundry. JOY FRANZ: Oh my word, I
never thought doing laundry would be grounding
and feel so good. That is crazy. But it’s normal routine for me. JASON MICHAEL EVANS: Yeah. And we all find
our routines that work for us, whether
that’s going to the gym, whether that’s writing,
whether that’s going on a walk. Like, we all have our
own, like Joy was saying, our own sense of normalcy. But when we get to
the theater, that’s actually the one thing that
is more or less a constant. Sure, our dressing
rooms are different. There’s little
differences here or there. But that stage is always
the same measurement. Sometimes the
backstage is different. But when you’re on
stage performing, that’s where you feel
normal, regardless what city you’re in, regardless
what city or what stage you’re on. It’s being out there that
is always the constant. LILA COOGAN: Yeah. And the other thing, I think,
that a lot of us do is also, a lot of us unpack. Even if we’re only
there for like a week, we set up our hotel rooms
and our dressing rooms or our Airbnbs to be our space. It can be really difficult when
you turn to your nightstand, and there’s not a picture of
your boyfriend and your dog. You know what I mean? So also making the space
your own is really important. So even if that means a couple
extra pounds in your suitcase, I think it makes a
world of difference. STEPHEN BROWER: I
travel two blankets. I was a blankie kid. So [INAUDIBLE] make
me feel like home. AUDIENCE: Hi. So my name’s Kendrick. I have a 19-year-old
sister who’s always dreamed of being on Broadway. She’s going to be a
sophomore in LA, at LMU. And what advice
would you give to her to make it, maybe,
and be in your shoes? JASON MICHAEL EVANS: Well,
being in LA, first and foremost, I would tell her to start
auditioning for the theaters there. I spent a few years in LA and
I worked a lot with the kids in current musical
theater programs. I think the best way to learn
is to get out there and do it. BFA programs are great. Colleges are great. But you can’t really
understand what goes into the daily life
of being a working actor until you’re working at
those professional theaters. So my first advice would
be, learn as much as you can at school, but also start
going on auditions in town. LA Is a great theater community. And yeah, just start
breaking the ice now, because it’s a great
place to get your start. LILA COOGAN: I also think
talking about the fact that this industry is hard. So learning to tune out noise
is really, really important, because no matter how
many people love you, there’s always going to be
at least one that doesn’t. Art is subjective. It is not definitive. So I do think learning how to
manage that early on is really helpful. And being patient,
because sometimes you have to wait three
years for a job and it just ends up
being a great one. JASON MICHAEL EVANS:
Art is only definitive when it’s Audra McDonald. That’s the one thing– LILA COOGAN: Yes, that’s very– Audra is the only
one who is universal. JASON MICHAEL EVANS: That’s the
one thing we can all agree on. LILA COOGAN: Audra and Meryl. JASON MICHAEL EVANS: Yes. JOY FRANZ: Uh-huh. And I would say, just keep
talking your dreams alive. LILA COOGAN: She
does it every day. JASON MICHAEL EVANS: At
the stage door every day, Joy Franz has a
five-minute conversation with every person
waiting for an autograph to tell them to
follow their dreams. JOY FRANZ: Yes. JASON MICHAEL EVANS: And it’s
my favorite thing in the world. LILA COOGAN: But no joke. Every day, she goes– JASON MICHAEL EVANS:
Every single day. LILA COOGAN: –I’m
going to get my TV show. And it’s true. AUDIENCE: Thank you. LILA COOGAN: Talking it alive. AUDIENCE: Thank you so
much for being here. I’m seeing the
show this weekend. I’m very excited. LILA COOGAN: Yay! AUDIENCE: With a show
so much about family, but while you’re traveling
and far from your families, how do you keep that idea
of family and home with you and keep in touch
with your family, like keep that part of your
life going while you’re not in your physical homes? LILA COOGAN: I think
the show is honestly what keeps us grounded and
in touch with our family. I mean, obviously, we
communicate with them. We all have FaceTime. And I always Skype with my
boyfriend in the morning. And I don’t get to see
my dog very often, which is really crappy. But I do think that what we
were saying about our cast being a family is very
important to that. But also the fact that
we’re doing this show about home, love, and family,
it just kind of makes you appreciate your
time with them more. JOY FRANZ: And also,
we do get some layoffs. So we can go home to our
family and see our pets. Oh my god, I miss
my dog so much. STEPHEN BROWER: Three of my four
years, I’ve been on the road. So it really puts– it shines a light
on the people who are really important to you. JASON MICHAEL EVANS:
And while we all keep up with our families
on FaceTime, or Skype, or WhatsApp, what Lila was
saying, the cast is a family. There are maternal figures. There are paternal figures. There are brothers and sisters. There are kids. I can’t tell you how wonderful
it is to have two little girls. LILA COOGAN: Oh my god, yes. JASON MICHAEL EVANS: It just,
it raises the energy– like, I saw them just holding hands,
skipping through the halls a couple days ago. That just raises the
morale of everybody, just having ranges of all ages. And everyone is so
kind and so dear. So I mean, now we
have two families. We have ones we talk to on the
phone and FaceTime and the one we get to be with every day. LILA COOGAN: Plus,
those little kids make you want to set a good example
as to how to be as an adult. And that’s what I mean
is we’re a family, and we just want the
best for each other. And our kids definitely
are the best. STEPHEN BROWER:
Our kids, our kids. JOY FRANZ: They’re our kids. LILA COOGAN: They’re our kids. JASON MICHAEL EVANS:
They are our kids. JOY FRANZ: My grandchildren. LILA COOGAN: They are. [LAUGHTER] JOY FRANZ: These are
all my grandchildren. LILA COOGAN: My chickadees. SPEAKER 1: Thanks again,
everyone, for coming by. And thanks so much to Lila,
Jason, Stephen, and Joy for taking the time out
to join us here at Google. We really appreciated
hearing your performances and also learning
more about the show and learning more
about your experiences as performers on tour. STEPHEN BROWER: Thanks. JASON MICHAEL EVANS:
Thank you so much. LILA COOGAN: Thanks
for having us. Yay! JASON MICHAEL
EVANS: Come see it! [APPLAUSE]

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