I'm John Glover.

I was Lionel Luthor on Smallville and I will always always hold on to Smallville and I hope you all do.

Two.

Welcome to Always hold on to Smallville.

In this podcast, we talk about each and every episode of the Young Superman show.

They were from two thousand and one twenty eleven on the WB and the c W.

Unless we don't.

It's another Smallville Torch exclusive number five and I'm drawn by the co artistic directors of Foster Cat Productions, Elliott and Harry White.

What's up, guys, Hey, Hey, thanks for having us.

And good to be on the podcast.

Absolutely so, you guys are brothers.

That's kay.

Who's older?

Who's younger?

I usually asked people to guess, but since there's no since there's no video here, I'll save you that trouble.

It's me, Okay, so Elliott is bait.

I said, who's older?

Who's younger?

Ellis and I said, it's me.

Oh Goshio, you can tell.

You can tell them?

Really experienced in the podcast world.

No, Absolutely so.

Shout out to our Michel from Victoria Malay who connected us.

Love Victoria, great contributor to the show, great friend and connected us and you guys are putting on a musical It's a bird, It's a planet Superman for Foster Cat Productions.

So tell us how you got into the theater industry and started Foster Cat.

Yeah, oh it's really this is simple.

As my mom when we play football growing up, so I got the you know we did.

Uh, this is another superhero connection on Superman are The youth theater that I grew up with was run by Chris Evans family.

Okay, so his sister was my drama teacher in high school.

His mother was directing our plays when we were younger, and uh, and that youth theater program.

We eventually went off to do a lot of other educational theater, but really sparked a love and an interest for theater, so you know, eventually ended up going to theater school in New York.

Yeah, and our parents were.

Big proponents of the hearts or dad wanted to be in a band.

Our mom loved musicals, so they just took us to it.

Since we've been growing up.

Yeah, I mean we were kids.

I mean it was gonna it is gonna make us seem like we're really young, but we were.

We were still kids.

When we saw a Book of Mormon on Broadway and uh.

And so you know, we were kind of really inducted into the cult of theater.

I will not say that I'm a theater kid.

That is a slur, but but uh no, I mean like we really fell in love, fell in love with the theater and for the for the theater company, for Foster Cat Productions.

Uh uh.

We went to a school, Atlantic Theater Company.

It's part of n y U H.

And part of their program is they train you how to how to make your own work in the industry, in the entertainment industry, because it's a lot of times it's easy to sit back on your haunches and wait for opportunities and jobs and careers to come to you.

And and it's important, you know, for actors, for directors, writers to know how to actually produce something.

And so I had a lot of the skills learned throughout Atlantic and of my graduating class, I ran to be artistic director and in one I don't know if one is the right word, but I served as artisicupator for the first year of our graduating theater company, where we did two plays.

One of them was in Atlantics, like off Broadways, black Box Theater.

This is all in New York City and.

In the middle of my first year or like the middle of pretty pretty like three fourths in my first year was twenty twenty COVID pandemic, and so all of theater was pretty much shut down, and uh, you know, to skip a few details, we you know, we had to shut down the show, and the theater company kind of like took a little bit of a pause.

We're doing live performances.

Harry was out here in LA.

I moved out here with him, and pretty quickly we came out here because we auditioned for twin brothers in a role in a pretty cool superhero movie.

We didn't get it, needless to say, but that was a really cool audition and it was very early on into our careers, and so we were like that, you know, we wanted to move to LA and follow that rabbit a little bit.

And once we were out here, you know, I mean, when you're in when you're in.

New York, everyone has everyone's doing theater.

When you're in LA, everyone's got a short film.

So pretty quickly in LA, we were like, wouldn't be interesting if we were the guy if we were the idiots doing theater in the film town.

And so we we started doing theater out here.

And originally it just started as a way for us to practice our craft and you know, you know, just just keep ourselves enjoying, you know, the entertainment industry and not not get so dejected.

And pretty quickly people started to come to the shows.

And you know, we we we always you.

Know, we kept our ticket prices incredibly low because we don't we really didn't like how you know, most tickets are now like average ninety to one hundred and twenty bucks, like and that's not that's not Broadway, you know, Broadways even more so, you know, we we were just beating shows that we wanted to do.

So we did plays by h We did a lesser known Sondheim musical.

We did plays by Ethan Cohen of the Cohen Brothers.

We did plays by Nora Ephron, Alan Arkin, Elaine May.

A lot of these, like Hollywood Legends, one of the first musicals mel Brooks wrote, I think the first musical mill Brooks were actually and and a lot of people in Hollywood were like, yeah, this is like they're not seeing this, you know, most people putting on shows they do kind of do the classics like Greece and you know, Little Shop of Horror, and there's nothing wrong with those shows.

I love Little Shop of Horores.

But I think it was like we found out pretty quickly there was a whole in the industry out here for people finding plays that were written by people that you wouldn't expect to disappear, you know, plays that you would think everyone would know about.

You know, this is an academy when we're winning director wrote this thing, or Alan Arkin, fantastic actor.

Has plays most people don't know he wrote anything.

So doing that in La, you know, we found that that hole that we filled, and people started to come and we started to establish ourselves as like a real like kind of like I wouldn't say, like a punk rock theater company, you know, because we some people described us early on as we kind of were like a traveling troop of actors and everything used in the stage like looks like it came out of our like you know, and out of our van, right, and of course we didn't really have a van, but it's like we we really had a commitment to like the minimalist of theater and for those who aren't sold on that idea, you know, because obviously spectacle is great, especially on a superhero podcast, it's crazy to even say, like spectacle is specle that.

But in theater, you know, there is kind of a big pushback against like what is the importance of spectacle versus just telling a story?

You know, something we're passionate about is the you know, the root of theater is just really people on the street putting on a show, people passing by and stopping and watching.

And it's not about the big lavish sets and costumes.

And of course we do have a Superman costume, don't get me wrong, But but it's like, you know, there there's proof that like if you have a really good story and you and you're not trying to like, you know, put on your you know, you're trying to twist it in your own way.

Like if you just have a really good story and you put it on, people will be there and they'll love it because that's the magic of theater and and and you know, both movies and live theater honestly.

So that's our kind of niche.

And the name Foster Cat Productions comes from before the pandemic before it was kind of trendy to do.

So we were in school, we lived together, and we were we were.

You know, a little bit tired of school, and we ended up fostering cats and the first to.

Deal with our to deal with our depression.

Yeah, it was.

It was a great time.

We learned a lot and uh and we the first litter we had was like literally six kittens that were two weeks old and their mother and it changed our lives.

And so we just named it after our love for fostering cats.

And I can let Harry talk about how we discovered the Superman musical, but we really like to unearth kind of these hidden gems, the things that.

Not a lot of people know.

Now.

I know you definitely knew about this, and probably most of the listeners know about the Superman musical.

But for your average.

Joe a theater goer, a lot of people when you tell them there was a Superman musical and it was written by the guy who wrote the music for or the music she wrote the same music for Bye by Bertie and Annie and the writers of the movie Kramer versus Kramer.

You know, when you hear all that, people are like, what that is that a real thing you're telling me?

And so you know, that's kind of like what our theater company does.

So we've done tons of plays by other filmmakers, you know, like just.

Finished a play by Orson Wells and adaptation of Mobi Dick, the most people don't know about.

So yeah, we just find little known pieces.

Of theater and hopefully share them with people who can be like, hey, I had no idea this existed.

Yeah, And it's usually like we try to be like, you know, for most people.

We were picking shows that most people haven't seen, so it's like the first time they've seen the show.

So, you know, one of my favorite things we've done.

If you're familiar with Shelle Silverstein, the children's book writer, Yeah, he had a series of plays that were like very raunchy, kind of adult themed but it's still yeah, but they used like this, oh yeah, and in a lot of the plays they used like the you know, he's still rhymed, and use a lot of like child humor, I mean child's storybook humor or, like wit, but there was a more of adult themed story.

It's the very pretty story is a very adult language.

Yeah, stuff that no one's heard of and to tie into the Superman of musical.

We liked about the musical so much is that it's so different from where superheroes are like now in pop culture.

Most people would not expect couldn't even fathom the idea of you know how like, is it so goofy is?

You know?

And that the musicals campy and it's so much fun and it's it's very like, it's got a lot of heart to it, and it's not grim, you know, And I like a grim superhero story sometimes, but I just think in a musical, you know.

So how Yeah, We've always been superhero fans for our entire lives, you know, I've been reading comics from a young age, and we uh you know, I played Injustice uh more than any other video game.

But we're also theater lovers, and we all obviously knew about Spider Man Turn Off the Dark.

Oh yeah, did you guys ever get a chance to see that?

Noo?

But I didn't either.

I didn't see it, but my cousin's babysitter was the usher for it, so he took me into the theater after the show ones, where all the Spider webs were everywhere in the audience that was pretty insane.

But that that's like the superhero musical that everybody knows.

And and an infamous disaster does.

Not have a great reputation.

Uh and there all there is a direct connection between the spider Man musical and the Superman Musical, which I'll get into a little bit later, because the super musical has a crazy history.

Do you have what one?

Did you know about it?

And if so, when did you figure out about it?

The used bookstore chain here in Texas where I live, Well, they're all around, but it's called Half Price Books.

So I talk about a lot on the podcast actually because I find a lot of stuff there.

I was there.

This is like near the early days of the podcast, so uh, several years ago, and they had you know, have they have records LPs?

You know?

Now it's funny you go into like best buy and see records.

It's funny how time is a flat circle and they're popular again.

But if they had their record section, I see this like Superman musical, it's a bird, it's a plane at Superman.

It's like obviously from like the seventies, and like what is this?

So I bought it.

I listened to it like once, I was like, oh, Okay, this is a weird oddity I'll put in my shelf, but didn't really think about it.

Now I have had had some podcasting friends that have talked about it.

The All Star Superman podcast kind of went into a really deep dive on the history, which I learned a lot about and kind of inspired me to maybe go re listen to it because it actually is on Spotify.

I'm like, why did I buy this record?

Now I can listen to But no, I'm a you know, as you guys can see behind me and the listeners game, you guys, I like collecting things of physical media and other collectibles, so now it's that record is just like a collectible for me.

News is made Metropolis.

Every morning, the five million readers of the Daily Planet wake up to headlines like this, Yes, Superman has stopped another major crime.

And yet how often do we take for granted the miracle of this one man vigil in our midst How much do we really know about Superman?

In the year thirty seven hundred of the Nola Galaxy, a tiny planet called Krypton faced imminent destruction.

A series of internal nuclear explosions threatened to destroy the planet in seconds.

Yet only minutes before the holocaust, one man, in a desperate attempt to save his baby's life, put the infant in a tiny rocket ship and launched him into space destination.

Unknown how it happened, we can never comprehend, but surely it was the hand of providence that guided this frail craft toward Metropolis.

What sort of a being was this that.

Landed in our midst Men call him Superman, Criminals called him Nemesis.

Before his advent, respect for law was at an all time low.

Since his arrival, organized crime in Metropolis has steadily decreased from year to year, and yet Superman still finds time to offer his services to the less fortunate among us, our senior citizens, our shuttings, and our citizens of the future.

Little wonder, then, that a grateful city bestows its highest honors upon the Man of Steel.

Here is Daily Planet editor Perry White presenting Superman with a Good Citizenship Award.

And so Superman, on behalf of the three thousand employees of the Daily Planet, I take great pride in presenting you with this award in honor of your achievements.

A I bear that.

K thank you sid.

Yes, prevention of crime and pride in Metropolis.

This is the credo of Superman.

Kids.

Being Superman is a full time job.

There's a lot you can do to help.

First, be good and listen to your parents and teachers.

Believe me, they're on your side.

Second, be healthy in mind and body.

You know, it's not easy combating all the criminals and evil doers in a city this size.

No matter how hard I work, there will always be men who want to take the easy way out.

But if I know that the youth of Metropolis is behind me one hundred percent, and if I can feel confident but tomorrow's citizens will be decent, upright men and women, my job.

Will be that much simpler.

Like having a predominantly Smallville fan audience, I am sure a lot of them have no idea about this, what this is, what this history is.

So so why don't you no penitend to give us a flyover of Superman the musical?

Yeah for sure.

Yeah, And before Harry does, I just want to point on Harry.

Harry's like, the is the director of this piece.

So he's he he is a lot of the he know, he knows so much about this.

I'm impressed I'm gonna let him take this to talk about the process and the history a little sure.

So, yeah, I was just reading.

Uh we were in New York.

I went to a bookstore.

I found how Prince, who's a big Broadway director and producer director Sweeney Todd and.

Like famly opera as well.

He was involved with Yes Phantom of the Opera, one of the giants of theater.

He had an autobiography.

I thought, well, there's going to be some interesting stuff in here, and I read it and then I got to a chapter about it's a bird, it's a plane, it's Superman.

And I'd never ever ever heard of that before.

So instantly I think the name of the chapter of Superman.

And I'm reading this on a plane, and so I've reached for my phone so just to start googling, and I realized I can't.

I can't google anything about it for the next like four or five hours.

So I'm just stuck with this one little chapter in this book that doesn't go into it in great detail.

Because the Superman musical was one of the biggest financial disasters on Broadway when it came out.

Now, so going back to the inception of that musical for my knowledge of the rescarch that I've done.

Robert Benton and David Newman, who were the screenwriters on the Richard Donner Superman movie.

That first movie came.

Out I believe in seventy eight, right, yes, yes, this musical I believe was sixty six sixty six, so this was a little bit before them, but this same writing team, and apparently what happened I forget if it was Robert Bennan or David Newman, but one of them's I believe son just came to them one day and said, Hey, I like Superman.

You should write a musical of Superman.

And they were like, huh, that's interesting.

Went to Charles Strauss, who had just had a big hit and Bye Bye Birdie, which was the first rock and roll musical on Broadway, and said what do you think of this idea?

And they were like, we love it, let's do it.

So it was really simple.

It was just somebody's kids saying I'd like to see this, and everyone was like, yeah, sure, why not, let's do it.

So they put the musical on when they wrote it.

It's a completely original story.

I don't think it takes nothing from the comics.

I believe the only characters from the comics are Superman, Lois Lane, and Perry White.

Perry White's a tiny, tiny role.

Other than that, all original characters.

New story and they wrote it and they put it on Broadway, and they used flying to get the actor playing Superman up in the air, all kinds of special effects.

They put a movie in it, like they paused the stage show to show a movie in.

The theater for one scene like that.

There's one scene where the bad guy's trying to figure out who Superman is so he can, you know, figure out his weaknesses.

And so Lois Lane is like, oh, we conveniently have this this movie on the origin of Superman.

Let me play it for you.

And you can even watch that movie that played in the Broadway show on YouTube.

It's on YouTube.

It's black and white.

It's it's really ridiculous.

So it's just so it was a very experimental and expensive production, and it got great reviews from from what my research, people like critics liked it.

Just the audience wasn't coming to see it, and I think they the reasoning that was given by Charles Strauss and Harold the Prince.

It doesn't seem like anybody quite knew exactly why it didn't catch on.

But the main things are one that the Batman show was on same time, and they figured people would rather stay home and watch Batman than spend money on a Broadway ticket to go see Superman, and they would they were getting their superhero fill so they didn't need.

To getting their superhero filled with one show on one network.

What a time to be alive, I know.

Seriously, what a different time.

And then and they had also I think they had not quite cracked if it was for kids or for adults.

I think reading the script now, it's very clearly enjoyable for adults.

There's some very funny stuff in there and some pretty adult character.

It's not R rated at all, but it's you know, it doesn't cater to it's not like written for kids clearly.

You know, there's a lot of jokes that are pretty sophisticated, and I mean the the entire you know, the whole Like there's a very big climactic scene where the main fight really happens with the villain dressing down Superman with his words like like basically just berating.

Him, and like, you know, that's the thing about a superhero show on stage and Spider Man where their problems were showing all the stunts in the action and all that crazy stuff where people getting in there.

You can't really do an action in theater, like just so little theater action.

If you're doing a musical, it's really either got to be like a.

Comedy or like a drama.

And back in the sixties the musical comedy was so popular, so of course they really leaned into making Superman into a musical comedy.

So it's very jokey, it's very broad, but it's very well written, like the like Elliott was saying, the way the super villain because he's not he's not a super villain, he's just a scientist.

And his whole idea on how to take down Superman is to make Superman realize that he's not important and that he shouldn't feel special.

And so he literally just has a conversation with him and says, why do you feel like you need to save people?

And Superman's like, I don't know, I just think it's the right thing to do.

And the Villain's like, well, who asked you to do that?

And Superman's like, I guess nobody, and then he becomes depressed and that's how he wins the fighting and Superman the villain by making him depressed.

And the villain's motivations are and this might be a little simplified, but it's because he doesn't feel special himself.

He's a scientist who's like, what does he say if it was five times and.

Nobel Prize loser tenva He lost the Nobel Prize ten times, so he wants revenge on the world.

It's all very goofy and very very ridiculous.

And what's even interesting is if you if you look at the show when I when I was first researchers researching, and I saw it got a Tony nomination for Best Leading Actor, and I and I and it also got a one for Best Supporting Actress for the woman playing Lois Lane.

Makes sense.

I saw the nomination for Leading Actor and I was like, oh, this is probably the actor who played Superman.

But the guy who got the nomination for Leading Actor for the Tony Award was not playing Superman nor the villain.

There's another character who's like kind of a villain who's well, he's certainly, but he's not like but he's.

Not he's not like the main bad guy.

And there's this random character they named up, Max Mank who works at the Daily Planet with Superman, and he probably has the most songs in the show, and that acts.

Some of the best songs too, really great songs.

And that that's the actor who got the Tony nomination for So it's it's a weird mixture of original stuff and you know, the Superman mythos, it's just it's such a unique thing.

It's its own beast.

I feel like it exists in its own little bubble from the rest of the cannon.

I would say, talk about the cast.

I did want to call this out.

So Jack Cassidy played Professor X, the villain.

You know, Jack Nancy played Max Mankin, who is not not the main villain.

He's more of a secondary.

Villainy And he was a big musical theater star at the time, so I believe they just wanted to give him a role and and they created it based on him.

And it's it's a columnist at the Daily Planet who's sort of he's he doesn't treat women very well and he is only interested in fame.

And so there's a whole there's a whole subplot with him in the musical.

And for whatever reason, because he was the biggest star in the show, the Tony deemed him the leading actor.

But he he didn't play either Superman or the main villain, just a secondary villain.

I did a little research on the family tree here, So yeah, Jack Cassidy.

His son is David Cassidy from the Partriers family, who was the mirror Master of the nineteen nineties Flash.

His daughter, David Casside's daughter is Katie Cassidy Black Canary in the Arrow Verse.

And David Cassidy's half brother is Patrick Cassidy, who not only was on Lewis and Clarke as the son of Lex Luthor, he was Lana Lang's biological father on Smallville in season two.

So there's your family tree.

Oh that's insane.

And it's all connected the Superman Mafias.

The Ancestry dot Com.

He had all of the Superman.

And I guess it's been a it's hard to talk about this.

It's now we're in the midst of rehearsal, so it's it's hard to talk about it.

Linearly and and give a great looking at from the outside.

What exactly the musical is.

So I'm gonna go back to the basic plot of the show.

So Superman is it starts, no origin story.

Really, Superman's a guy.

He's he's protecting the citizens of Metropolis.

While at the same time, Clark Kent works at the Daily Planet with Lois Lane, Max Mankin, and another character named Sidney.

And so there's the main plot is Superman solving crime and then Clark Kent, Uh, you can't really tell if he's in love with Lois based on the script from the beginning, but Lois gives shares all her anger at Superman for not she.

Basically she basically says, like, you know, look how many times Superman has saved my life, but has he ever told me that he loves me?

And like it's it's so funny because she's upset.

At Superman for never going on a date with her and shares that grief with Clark Kent, who listens and is the comedy is that obviously he's Superman and she doesn't know it.

And so in the Daily Planet there's this other character, Max Mankin, who is played by Jack Cassidy, the actor we're talking about.

He just is interested in fame, and he has a woman that works for him, Sidney, who he treats pretty poorly, and he just wants to be with Lois, so he's always stepping on Clark Kent's toe's getting in the way trying to seduce Lois.

She's not interested in him at all because he's a bit of a creep.

And Sydney, who was Max's assistant, is upset that Max is doing this to Lois, so she tries to seduce Clark Kent.

I known this might sound all convoluted.

I feel like it's a lot of pieces here, but so Sidney, it's a love square.

Sydney sings to Clark Kent.

This is the most famous song in the show, and it became I think it's the only song that really became a standard after the show was released.

It's called You've Got Possibilities, and this secondary character, Sidney, goes to Clark Kent and because she's upset that Max is giving her the cold shoulder, she says to Clark, well, you know what, I can go out with you instead.

Even though you seem to be a loser, I'm sure there's something cool about you.

And she sings this whole song about how he's got something going on underneath that he probably doesn't know about because he's such a nerd, and the joke being obviously that he's Superman.

She has no idea, and so she's doing all these things.

There's a lot of there's a joke in the in the in the in the number where she rips open his shirt trying to seduce him, and it just doesn't see that he's got a Superman costume underneath.

Yeah, he's got to button it up before she notices it.

It's all really ridiculous.

And then while that's going on, this professor Abner Sedgwick, who's lost the Nobel Prize ten times, is working on some big science experiment with his sidekick Jim, who is it's a professor that works underneath him.

Not Jimmy Olsen, No, not a character from Superman, just this dude named Jim, and Lois goes to report on this.

It sounds so crazy.

Lois goes to report on this big science project where she meets Jim and then falls in love with Jim, and so Jim and Lois become an item an item, and Superman and this other girl, Sydney become an item, and then and then the whole thing is Lois is trying to figure out if she loves Superman or Jim.

Her main struggle is it is it Superman or this.

Other dude named Jim.

You know, we don't really know about it.

And then Clark's you know, through line is like I got to defeat Sedgwick because he's clearly an evil scientist, but also I want to be with Lois, but I'm too scared to tell her.

A lot of high jinks, a lot of a lot of just ridiculousness throughout the whole show.

There is an intermission at some point.

Yes, yes, so's because that sounds like a lot of story.

So yeah, probably two and a half hours or something to play.

The h the actual show is we were we have it less than two hours, and uh and if if we find we need to, we'll put a little sign outside with the character tree so.

Everyone can mix it up.

But uh, yeah, it's such a it's such a hard shitter describe.

It's the script is so well written and they did such a good job making it that you read the script and you're like, oh, this makes sense.

I'm following everything.

I know, what's going on.

Yeah, and it really is.

It's really like it's such an easy buy in because it's like, you know, describing the whole plot, Yeah, like it sounds convoluted and messy, but everyone going in and it's like, you know, you know Superman, you know, the whole gimmick with like the Clark Kent and it's like he's a little bit more nervous and he's more confident a Superman.

He's balancing the two lives.

You know.

Everyone gets that.

So it's so it's a lot easier to buy into the show.

And and honestly, if anyone, whether whether they're like you know, in La to see the show or whether they have no chance of ever seeing the show, I still recommend listening to the music because you can fall in love with the soundtrack.

The songs are really good.

That You've Got Possibility song, like Harry said, it's kind of been like the most mainstream song or the one that like kind of broke into the zeitgeist a bit.

You know.

Peggy Lee recorded that on her own and for anyone out there who is a fan of musical theater, they you know, Stephen Sondheim included that in a list of songs that he wished that he wrote himself, which is it is just so fascinating that it's you know, a lot of people like the song is kind of everywhere and no one really knows about the music.

It's from that.

That's the one that took out to me.

I remember when I heard it, I'm like, oh, that's a good one.

And then whenever you visited, I'm like, oh, yeah, that's I'll listen to that one again.

You know, not to say it, you know it's like the only good song or anything, but that one sticks out.

It does.

It's really well.

Speaking of the score, I mean the music is also just going along with how strange the pot sounds.

The music, the idea of the music is strange too, because Superman doesn't really sing that much, and he does have a duet with Lois Lane.

You'd think, really, you think it's the yeah.

Yeah, you'd think it's the most obvious thing.

Lois does not have a duet with Superman.

Instead, she has a love song with Jim, who's this other made up character.

So if you try to explain the score to someone, they're like, well, how could that possibly be good?

You try to explain the script to someone, how could that possibly be good?

Yeah, But for some reason, the show is a critical success.

They did it in New York about I think fifteen years ago for a like a revival concert kind of thing, and again it got incredible reviews.

Everyone's like, it's a really well written show, it's really funny.

There's a lot of great opportunities for directors to do stuff with it because it's so stylized, but for some reason, nobody really does it.

And it's I think the reason, if I had to guess, it's probably because the show was made with flying in mind.

You know, Superman being attached to a cable and being able to fly all over the stage, which is obviously something very very difficult to do in live theater, and so of people are probably put off by the idea.

Of producing it.

However, the very first page of the script, the original director and writers say, do not be put off by the flying.

You can easily do the show without flying.

Here are like three or four ideas if you'd like to do the show but don't have the capabilities of flying.

One of them is so funny.

One of them is like, you know, and this is like pure proof of how they have the idea of camp in mind with the musical.

It's like they wrote down specifically have the one great idea is have the Superman actor just run off stage really fast with the hands, and all of the other characters do this exaggerated head movement that's like whoo, like you know, circling around and it's just and it's like, yeah, they they knew when they wrote this thing that it wasn't trying to, you know, make this grim really serious story.

They knew it was going to be campy.

And I want to before we jump off the topic of the songs and the and the duets.

There might not be a love song to do it between the Superman and Lois, but they make up for it because they have a love song duet between the two villains, basically Cedrick and Max.

When they link up together.

They this great song.

It's probably my second.

Favorite song on the show, behind You've Got Possibilities.

It's called You've Got what I Need?

And yes, I remember that one as well.

Yes, Yes, that is the great song, and it's just them singing about how it's like this whole time I've been looking for you, I'm trying to get Superman, but I can't do it alone.

I need you, baby, and it's it's so good.

Yeah.

And another example from the score of how the show is ridiculous is one of the opening numbers, tacked two is called the Strongest Man in the World and Superman singing a song about why does the strongest man in the world have to be the saddest man in the world and just this just big ballad about how he's so depressed and that that's just the so goofy.

I mean, Superman.

You think of Superman as sad and the pressed.

That's something you hardly ever really see.

Well, I mean, I guess it's kind of there's a more moody Superman that's popular.

There's the post millennial Superman.

There's a lot.

Yeah, but I mean, if you yeah, going back in that time period, very rare to see that sort of thing.

Yeah, get your hands like this, put a hand like that, want a hand like this, and say the three words let me stop up.

And as far as you gotta make sure your boot doesn't pull down, that's okay, that's fine.

That concludes our program.

Full.

But the main idea is faith, huh.

Faith and belief, belief that you can do it.

Okay, right here we go one, two, three?

Good?

A little more belief.

I guess I will.

I'm a daughter, all right.

Once in a while, Tinkerbell lives.

I really got to do it your way.

Huh, I'll tell a hand hand I'm away.

I felt like a probloony had it.

I was like, can you.

Thank you?

Can I try that again?

Yeah?

This is the type song hang on, show me, hang on.

All right and away.

He's a happy let me get one.

I want to say up and works about my underwear, Pope, I'd like to talk to my tylor.

About my ende.

You mentioned the flying Let me ask you, like, do you guys gonna have flying or did you use one of those three or four other suggestions we have.

We have some technical home of our own that we're pulling out to do some unique things.

I don't want to.

Necessarily spoil it, sure, but we sometimes lean towards the campy side, and then sometimes we do.

Some other things as well.

Fair enough, Yeah, I think we have a few different technical.

Tricks our theater company that we do a lot of, Like we're really dedicated to black box like intimate theaters, and so there's not going to be like a flying one hundred feet in the sky.

Or like, you know, tony feet above a big stage with it, because we're not We're not a six.

Hundred you know seat theater where our theater is one hundred seats, so it's a little bit more of a intimate space.

Yeah, the musical hardly ever done.

Back in I think it was around twenty ten, they had an idea because superheroes were now very popular, post iron Man, post Dark Knight, they thought people would come to see Superman on the stage, so they were.

Going to bring Superman back.

But obviously the idea of trying to introduce to an audience that knows Superman at this point these characters of Max Mankin and Sydney and Jim and Sedgwick wouldn't go over well with the fan base, so they decided that they were going to rewrite the thing.

The original composers came back and decided to write some more music, and they got a new scriptwriter, a book writer.

I forget his name exactly, but he is the guy who I believe created Riverdale on the CWO and wrote the script to Spider Man Turn Off the Dark.

So they got him to write the Superman script, and they updated the show.

They made it way less campy.

I believe their focus was to make it less of a comedy and more serious.

They got rid of both bad guys.

They brought Lex Luthor into the show and a bunch of other Superman bad guys, and it got really great reviews.

It was at this production in Texas.

I remember seeing that this happened like years later.

I'm like, I wish I kN know about this.

Someone was driven there see this, but it was it was already like it was like five or six years past.

It was way way pass.

So I was like, oh, what is it going to come back?

And it's as I'm sure you're about to tell us it's not going to come back.

So it's and I believe it was the production with Jack Cassidy Sun either Have Superman or I think that was maybe it.

But yeah, so this production in Texas got great reviews.

Everybody really liked it.

I believe they were planning to move it to Broadway, but DC, the Film Branch, I believe, didn't want to happen.

They said, you can't do this because I believe Man of Steel was coming out around that time.

They didn't win any sort of conflict of interest.

And also because this Superman was very different than the Henry Cavill's Man of Steel, Man of Steel obviously being darker.

This Superman well musical, well.

Not a straight up comedy anymore, still on the lighthearted, goofy side of Superman.

And you can even watch a lot of clips of it on YouTube, of this Texas production, but they shut it down.

DC shut it down, and they said the Texas production was allowed to finish its run, but this new script that they had written could never be seen again.

They had to lock it away, could never be reproduced.

They they didn't want anybody seeing it.

So that script sort of died with that production.

And now I don't know if DC's embarrassed at the Superman musicals that out there.

You know, it's out there and it's available for licensing, which means, you know, they let people do it like they're letting us do it.

But I don't think they like the idea of anybody changing it to add like lex Luthor or anything like that.

They want it to be its own separate thing.

The original production, the way it was is the way that they allowed it to be, and any further changes they won't allow.

Well, that's unfortunate because that sounds like a fun revival they did it for years ago.

But hey, props to them for just allowing this to continue on the way it was, because they could have said, you know, put the stop on all of it across the board.

So well they at least allowing that.

Yeah.

Yeah, And I wonder I wonder if it's because DC signed a contract, you know, to allow this show to be licensed back in the seventies, before they quite knew what it would become.

And I wonder if they had the ability to, uh, to change that, if they would, they might know it'd be.

Trigger you know, because I mean the people, the guys who wrote it, you know, Bob Benton, Charles Tross, Lee Adams, and David Newman.

I mean, they're they're incredible, and they are legends in the industry of their own rights.

So I think it's I think something that we're not.

We weren't even too eager to be like, ooh, can we manipulate things, or like we were just excited to do that their work because it's a piece of the Superman history.

That's I mean that you can't help but fall in love with those like artifacts that like created who we you know, know and love today as or like you know this legacy of Superman integral part you know, over ten years before the Christopher Reees movie came out.

Yeah, I mean that's that's something thing about it.

And then again, you know the as you mentioned the Dubans, Yeah, David Newman, Leson Mouveman.

They go on to you know, write a lot of the Superman one, two three, so you can actually there's a lot of connective tissue because I mean even Leslie and Warren who played Lois Lane and one of the I think the team version of this, she she auditioned for Lois Lane and ran the movie.

You can see her audition on like the special features of the DVDs and stuff.

So it's funny.

Yeah, now you brought up this made for TV version of the musical, which is fully on.

YouTube, and it is it is another.

Weird part of I haven't I haven't brought myself to what I've seen clips.

I haven't brought myself to sit down and watch it because it has you know, it has a reputation as a reputation, Yes.

It's got a reputation on exactly a good one.

And it's very different than the stage musical because we watched it to see, you know, to get ideas and to see what they were doing.

The music is different, while the songs are this somewhat the same songs they've been sort of I feel like.

Because I think the TV came.

Out after Greece, so they changed a lot of the sound of the songs to sound where doo woppy, which it was not what the actual score sounds like from the musical, and they changed a lot of the dialogue.

It changed some character.

Yeah, so it's really not the same.

While it's the.

Same blue story and the songs have the same core, the TV version of the musical is really not the same as the stage.

But also there's something to be said about like doing a campy musical on stage, it's a lot easier to enjoy the camp as opposed to feel like, I don't know something about having it on the screen.

And I love musicals on the screen and I love camp on the screen, But just something about the musical I don't think translated as well to when they were trying to film it in the first place, Like all the fun little campy stage elements.

They're just funnier I think in the live theater group environment.

Yeah, in the audience now your feet kind of feeding off each other and that whole thing.

Yeah, that makes sense.

Yeah, And it's something that I think is interesting about the super Verse.

And this is something that you're gonna You're gonna definitely.

Be way more knowledgeable than I in this because I, I honestly have not read too many of the comics, Like I don't I don't know the grand the grand Like I wouldn't be able to tell you too much about the comics other than I know that they I had just recently read the Alan Moore uh, the closing of that original arc.

Well whatever happened to the Man of Tomorrow?

Whatever that Man of Tomorrow?

And and god, I love Alan Moore.

But something that has always interested me is the whole idea of that Cannon in these comics.

Like you know, super fans will always know that like Cannon is such a like tricky mess and like you know, sometimes you have like five different of the same heroes you know, at the same time, And I think it's I think what the what's interesting is the musical, Like again, I think it's just it's like proof that the.

Musical deserves to see the light of day and shouldn't be buried.

Is because we're as fans of these of these characters, you know, we're open to different styles.

You know.

I love you know, I love how they're like.

Henry Cavill Superman can exist and you know, the New super Da you know, James Gunn Superman can exist as well, you know, and at risk of not getting any pitchforks and torches, I'm not going to say which is my my.

Favorites here, and that wise choice, but I.

Do have to say I I think I think as a as a fandom, I think it's awesome that there can be so many different variations of this character, because it would be boring if there was just one Superman that was just like, oh, that's the only way people should do it.

I think I think it's cool and I think that's what that's what made me fall in love with the musical before I even read it, Like I knew when I saw it, I was like, wow, this is like like people don't know about this, and you know, I don't know.

That's a little bit of a tangent but I just think it's a really cool thing that this this character has really been in every single medium, every single format that he possibly can be in.

Absolutely, there's something about how this is truly, as you said, it's an artifact of the sixties, you know, you know, bringing bringing this back out into the light to the public consciousness, right, because it would be something, don't it would just be different for like, oh, yeah, they made a Superman musical this year, and of course I'd be excited about it and I go see it, right, whether it's just historical curiosity to like what this is truly from a totally different error, it's like a like a time capsule of the.

Yeah, yeah, seriously, And with the artists who worked on it, I mean that was al the Prince before he became the superstar that he was.

And I think Eliot mentioned Robert Benton, one of the writers worked on camer versus Kramer.

But David Newman and Robert Betton together did Bonnie and Clyde, which I think is one of the best movies ever made.

So they clearly know how to write.

And again, if we're explaining the script horribly, which you know, it sounds like a mass but if you read the script, it is one of the best musical theater scripts I've ever read, just in terms of comedy and intelligence.

Put that on the poster right there.

Yeah, what are you working on?

Laws?

When do I ever work on another Superman story?

Well, that's a funny attitude to have.

Look how many times he saved your life?

Right, And that's their entire relationship.

I get into danger and he saves my life because he.

Ever sort of attracted.

We are at the rehearsals for the New York City Center anchor's presentation of It's a Bird, It's a plane, It's Superman.

He applies you anywhere you want to go?

Free me please with Silly my night of fair.

I know that I should find myself another man.

And those people who know sort of the modern idea of a superhero, which is very dark, are going to get a very different taste because this is now much more campy.

It's much more of a satire, A holy time for.

The stand round a guy, fa round, he comes.

My heart is found.

Well, there's unrequited love all over the place because she's pining after the unattainable man.

But she also has a little detour and explores what that might be like, you know, having a much more practical real man with her, with his feet on the ground.

Hair cut, simply terrible, nectar, the worst, very just a horrible.

Want to help first, steal yousities.

You're probably square.

I see po.

Sum.

I feel like City in some way is comic relief.

And she's got a lot of fun music.

It'll be really really fun to finally do her first rehearsal with the orchestra so we can actually hear a lot of those.

That's that late sixty sound gives.

Me.

You've got some sixties like dance moves in it, just because you can't not help but like dance a little when you hear that music, you know, in that in that style.

So yeah, it really is a piece of that era, which I think is so fun.

The tone, the kind of joyous comic tone that the comic books originally had is captured.

And it's a bird, it's a plane at Superman.

For me, it's just a great fun to work on because of its humor and its style.

Years ago, I fell in love with the TV series All of Blue, and I bought all the DVDs and I watched them over and over.

I was just mad about it.

I've been dying for the opportunity to recreate these dances in that style, and I feel like this is practically.

A dream come true to be able to choreograph this show.

You that.

Scray you can't is that.

Nothing we can't handle?

Luckily, especially under the total age of our mass.

John Rando over there, director, so he's he's got us all going, We're gonna be in good check.

For what is kind of you know, anything that you really grew up loving with Superman or anything that might have influenced you as you're as you're making this work.

Yeah, well, I will say I definitely and I think this might be true that there's some sort of Batman Superman rivalry.

And I definitely grew up on the side of you know, Batman was more my guy yea, And it took me a while to really engage with Superman.

I I grew up with that Justice League show on Cartoon Network.

Which I really liked.

I don't think it was until.

Injustice where I really started becoming interested in Superman.

And I think also the character of Bizarro really helped me get into Superman because Bizarro is one of my favorite characters loves Bizarre.

I just think that is such a funny character.

Every everything I've rand of Bizarro is awesome.

So that helped me get more into Superman.

I think my first introduction to the actual comics was the Alan Moore one, which probably heavy.

It's heavy for introduction, right there, yeah.

Yeah, oh yeah.

And then uh, and then I read Kingdom Come, and then I started getting a little bit more into it, and then I think, I just I don't know, I don't know.

I was afraid it would be boring or something.

How the well, the strongest, you know, someone who's unbeatable.

How could there be so many stories about it?

And then once you realize that, well, that's the fun challenge.

The creativity that the writers have to have to come up with a story like that means that these stories are going to be really well thought out and really smart and really enjoyable.

So so I fell I fell in love with it a little later in my life, but I'm a big fan now.

Yeah for me as like as similarly, so, Harry read so.

Many of the comics growing up, like you know, he he he.

Harry introduced me to like I knew about spider Man, but Harry introduced me to like Carnage and and like, you know, before Carnage, Venom and and I grew up, I did love I loved I a lot of like, you know, the side guys that weren't like I didn't really read so much of the main superheroes in Marvel or DC at first, like because I liked Venom and I liked Ghostwriter and and I do think there's a misnomer that Superman is boring, you know, And I guess when you're a kid, it's like maybe maybe it is easy to fall into that trap.

But like Harry was saying, I think it it.

I think the challenge of writing such a character actually leads to some really fantastic stories.

But that being said, because of that kind of misnomer, I feel like I was a little bit robbed of getting Superman as a kid because because I was I definitely, I have to admit sacrilegious.

I was more of a Batman kid, for sure, so much so that I remember we went to the was It Orlando Comic Con when we were kids, and we went to go meet Stanley and get an autograph, and my stupid, stupid self went dressed as Batman to go meet Stanley.

So I was a kid.

I'm not a very smart kid.

And then and Harry went dressed as Spider Mann with a he got one of those.

Like it was a costume for some other country where they wasn't made well.

And I couldn't see out of it, and Stanley thought I was blind.

Yeah, when we all we all got this autograph and was told to move along, but Harry's mask was still on.

He couldn't see where to go.

And Stanley was like, you forgot your blind friend.

Created a moment for you guys.

So Stanley is fantastic man.

No, I I too.

I was a Batman kid, you know, growing up in the I mean I was born in the eighties, but really growing up in the nineties, Batman the NMD series, and that's when the Batman movies were, right, I mean every every two or three years there was a new Batman movie.

So Batman, you know, on the on the streets as far as the superhero genre went.

And then Small Villa's really would maybe pushed Superman over the edge.

For me.

Yeah, I was the same age as Clark on Smallville.

So like when Smallville started he's a freshman high school.

I was a freshman high school.

Oh so like paralleled my life, the life imitates art if it tastes life kind of things.

I grew up with this show year by year, and so that's when like that submitted Superman for me.

But I'd always been a fan of you know that the christ to Reeve movies and I watched them with my parents on on VHS when I was a kid, and that sort of thing.

And you know, there's plenty of room for both, right, it's the way you always have to pit everything against each other.

But also, like you guys were saying, I too, am very happy.

There's so many versions and iterations and ways to approach this character.

Because I mean, you have your smallvil over here, and you have Zack Snyder movies over here, and you have Christophve movies over here, the animated shows over here.

You got your video games, you know, like like Injustice.

You know that that's that's a fun game.

My favorite Superman video game is probably the Superman Returns video game.

Of all games, I think I played played that long.

It's yeah, and here's when you probably never played Superman sixty four.

Oh no, no, infamously one of the worst video games of all time.

I heard, I've heard Superman the animated series for the N sixty four.

It is awful.

It is terrible, So but played to get a chance.

Yeah, now I kind of want to get it.

Yeah, and I loved, I loved.

I guess probably the Whatever Happened to the Man of Tomorrow is is an easy gateway for people who aren't as familiar with Superman, but like his Watchman is so like, you know, a lot of people know Watchman, and that was probably one of the earliest comics I read, so, you know, it was kind of like Alan Moore's name.

This is gonna sound so naive because I am a naive comic reader, but like Alan Moore's name on a Superman comic really just like got me, like, oh, I now I really want to, you know, read this when I.

Discovered that, well, talking about musicals based on comics, I mean Annie was based on the comic Annie, and I think in Charles Stress his book, he said he almost did not want to make Annie because Superman had been such a failure, and he thought, who wants to see comic book musicals?

So that almost prevented him from writing Annie So.

So so critically it was a success, but financially, ultimately it was a failure, which is why it stopped me.

I don't know how maybe brand like a year.

That way less than a year way less and I think only like I call like a even maybe less.

Than I don't know the exactly my goodness.

So okay, so we're really talking like spider Man turned off the Dark.

Yeah, I think it was the biggest financial disaster in Broadway history.

When it closed.

Wow, historic everybody, so uh but yeah, I mean that's interesting.

You take a character like Superman, you put him on the stage, even a musical, which you know plays or plays and musicals and musicals and you know there's a lot of crossover there, but musicals traditionally have a lot more production value.

So it's just it's it's a hard enough to crack with Superman.

But it sounds like they took the right approach, because like, if you cannot if you can't do a planet blowing up and a guy landing finding a giant robot and all that stuff, like go to the romantic comedy stuff, and that seems to be what they leaned into.

Yeah, and I believe kids really liked it.

I also read that the actor who played Superman in the musical he would he would after the show go to the stage door, still dressed as Superman, still pretending to be Superman.

I have seen Bob Holliday, I've seen pictures.

I'm like, I look like I like Superman.

Like I get here, dude.

I mean, if I was five years old, I would have believed he really was Superman talking to me and his cost Yeah that's great, But so did did did you guys watch small Villain Smallville?

Okay, so I was excited.

I was excited to talk about this.

So I I had never actually interacted with the show, but I had just watched the first episode once we you know, got in touch, and I'm eager to continue it.

All right, So you know, I'm I have to say the you know, I guess similar to Superman.

The idea of that show has was kind of like something I never I never gotten into, Like I never, I guess.

Had a friend who like in Pasi, I think it was running around.

We were too young, yeah, I mean I think I was maybe one when it came out, and and I just by the time I had reached the age where I was interested in those teen shows.

I think that there was just other things that were on that took our attention.

But yeah, we did watch the first episode recently and it is really good.

Really enjoyed it.

That main actor, I think it's crazy how much he looks like Clark Kenton, the major.

Like absolutely, Tom Mollagu's fantastic.

It's it's obviously like the show.

So you.

Two hundred and seventeen more episodes ago.

If you guys want enjoy you got a podcast to listen along to too.

If you want what's your favorite season?

Oh that you know, that's tough?

Season three, Season three maybe, and then and then you know what, dark Horse Season nine is really good and I like it a lot.

It's a whole different show by then.

It's so different it's hard to compare.

There's like eras of the show, like the first uh, the first four years, or like the high school years obviously, then what I call the I affectionately call the college dropout years or seasons five to seven, Like he's just he's just hanging out on the farm.

Is that Like the show itself was kind of spinning its wheels, uh, and Silver was Clark as the character.

And then my season's eight, nine and ten, he's a working in the Daily Planet.

He's in Metropolis.

Lois Lane is there in full effect, and it's basically like a proto Superman show.

And of those, I like season nine, so so I those are my goods.

When people ask you what my favorite one is, I say season three or season nine.

Yeah.

Yeah, I'm excited to watch it as well because because kind of like why I was interested in in in the musical, it is kind of like an aspect of Superman that isn't talked about as much.

Is like that time in Smallville, right, I mean like like I was shocked.

I was shocked as someone who is not as familiar with it that you know, obviously there's no Lois Lane because.

You know, or at least at first in the first not at first, Yeah, not at first.

And to me, that's like that's I think that's awesome.

You know, it's just a new, new, you know, a way of telling the story that's different than how everyone expects the story.

To be told.

Well, you see so many of the movies and that's when you cut to the future, right exactly, it's a baby in a space shift.

Oh, let's name them Clark cut to he's thirty years old.

So this is those you know, those in between years, and they they got there, they got the most out of it.

I mean ten seasons, y'all.

I mean, yeah, I believe it's tied with The Stargate is the longest running science fiction show in North America.

You know, because I know this doctor who's over there on its own, on its own over there, and.

They bring in a lot of DC other superheroes in it as is run.

Right, absolutely, yeah, especially being in those later years, like seasons five where they're bringing on the Flash Green Arrow.

Green Arrow fan.

When we were watched the Green Arrow Show, I also watched the original Flash show we have that we have the box collection of Yeah.

I love that.

I love that show.

I mean I love the nineteen ninety Flasher David Cassidy their master episode.

But no, a Smallville really.

I don't just say this because I'm like the small Oville guy, but it it is why we have the Arrow Verse.

I mean literally all those shows, those characters proof of concept were tested on television on Small like Green Arrow is a main character on Small over the last three years.

He shows up in season six.

He's a recurring guest star, and then he's a main character, and he was so popular they said, what do we do for Smallville?

I know, great Arrow, I guess, And then the Flash, Supergirl, et cetera, and they all had They all were long running, very popular recurring characters on the show.

So going back to like what you said about the spectacle versus you know, more minimalistic theater, Like we got the SpongeBob musical, which I just watched the recording of.

He's not even a superhero, and the.

Climax of that musical is he's climbing all kinds of all kinds of stuff, He's doing all kinds of action sequences.

And so you can imagine there's a Superman musical today that probably would be in it.

But this Superman musical, the climax, it's not.

It's just a battle of wits between Superman and the villain.

No action, just them having a serious conversation.

And that, to me is just so interesting.

How can you make a conversation thrilling by just by what these this iconic character is saying to this.

Yeah, I think you gotta know your limitations, right, I mean, if you're in theory, I mean, you know, you get your budget, you're what you can't achieve, what you can pull off, like and if you know, sometimes people reach exceed their grasp and they kind of fall in their face.

But just kind of that that's smart for you guys to produce a certain way from it, to be written a certain way, all all those years ago of like yeah, we we're not gonna have them, you know, fight a an earthquake or something.

We haven't fight a guy in a battle of wits.

That's smart.

But yeah, I mean, like you know, I'm very excited about the new Superman movie.

James Gunn.

I love James Gunn.

I'm very excited for that.

But it's like we know that, like you know, audiences, they're gonna get the visual effects, the million dollar really cool visual effects from that.

So there's not like I don't think that when you're doing it on stage, you kind of have to release yourself with the pressure of trying to show the live audience that you can do that too, because it's a different it's a different format.

I think that's actually freeing because it's like you know, this this is again it's on stage, we have a great script written by these incredible legends, and the script is you.

Know, tried and true.

We don't need to try to put something on top of it to prove that it's worthy of being performed.

And I yeah, that just brings me back to why I love theater in the first place.

Is that, you know, if you get people in the room all together and just a good story like that's magic can happen.

Absolutely, everything does not need to be everything else.

You know, there's a certain name for certain story.

I mean, there's a reason books or books, and there's a reason movies movies, and there's a reason plays or plays, and so yeah, there's plenty of space of this stuff.

And no, no, I love going to the theater, going to musicals.

My mom was in theater when she was in high school and so but we instilled the arts and me we we always we still go to like plays and things, and I do enjoy that.

It's it's a different experience, you know.

It's just something like like you can see a movie in the theater and then you can go watch a movie to get at home.

And I mean, obviously it's not exactly the same, but there's something about like you go into a live performance.

Going to live performance, it's like going to a theme park, right, It's like you're there experiencing it and you cannot You'll never recapture that exact thing, you know.

So there's a certain intangent like just there's an intangibility to it that that that it's fun seeing seeing just live entertainment.

I love that.

That's a great.

Thank you so much, Zach.

I appreciate you having us on and you're a great guy.

Oh, absolutely, no, it was great to meet you guys.

So so before we sign off here, tell people where they can find you guys online, when and where they can go see it's a bird, it's a plane, it's Superman, all right.

Yeah, So we're on we're Foster Cat Productions.

You can find our websites just Fostercatproductions dot com.

Uh they we're on Instagram at Foster Cat Productions.

We're on Facebook.

Two.

We're we're in Hollywood at the Broadwater main Stage Eater in Hollywood.

First two Beegins of August.

That's August first tenth, Fridays and Saturdays, eight pm.

Sundays at three pm.

Excellent.

So if you're in the LA area.

Go see it's the Birds and playing in Superman.

If you're not travel out there and go see it.

Support these guys by the show fly and uh yeah, no, it's been a lot of fun until next time.

Everybody, Always hold on to Smallville and all this other stuff.

Always hold on to Smallville.

It's part of the Always hold on To network of podcasts and brought to you by listeners like you, Chris Fuchs, Cavante, Chillis, Joey Deenberg, Isaiah Goodridge and Sey On, Corey Moore, Nathan Rodacher, a Tief Shek, Thomas Navin, John Curcio, Markidz, Foppin, Patricia Carrillo, Michael Hartford, Jim Crawford, Casey Vatch, Macon Rich, Urrie Humphrey, Alex Hamilton, Matt Douglas, Daniel Curriell, Merril Smith, Travis Hull, Matt b Amy, Jay Mike Franz, jas Grit Singh, Patrick Wallbank, Evan Bowers, Brandon Lytel, Nathan McKenzie, Steve Rodgers, Molly Fickerella, James Lee, Joe Michael, Jason Davis, Patrick Bravo, Alex Ramsay, Jacob Stevenhart, Tay Tay Rabe O'Connor, Tina Bee, Derrek Kursht, Dylan D'Antonio, Nick, Ryan Magnoza, Eddie Bissell, Clunk Kant, Nicholas Fansler, John Long, Ruth and Cruz, Travis Kill, Mike Thomas, Nina, Jay Gordon, Bombay, Ashley dj Dwina, Nicholas Cosso, Jared Gibbs, Anthony Anderson, Jess and Mcgueli, Keith Falls, James Hart, Anthony Deciato, Crystal Cross, Jake c Kiirin Kumar and Lorenzo Valdez.

Thank you so much to all these patrons, and YouTube can become a patron by going to Patreon dot com slash always Maulville with one S.

Hope to see you there.

Always hold On Too Smallville's theme music is by Lance Laster and our podcast art is by Tom Gurky.

You can follow us on Twitter at always Maulville with one S, You can find us on Facebook at always hold on to Smallville, and you can send us an email at always Maulville at gmail dot com.

Once again, with one S, thanks for listening