As I wrap up with Jennifer Geller, she talks about starting and managing a thriving business while *also* performing in Hamilton on Broadway. Plus, her love of croissants, that badass jump rope number from Legally Blonde that's still in her muscle memory, and why we need to stop gatekeeping absolutely everything. It's really not that serious, you guys.

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In Jennifer Geller's second episode, she talks about how heartbroken she was not to book Hamilton Chicago after being personally invited to audition by Andy Blankenbuehler. But when she eventually booked Hamilton's first national tour, Andy reminded her it was all about trusting the process. Easier said than done, but a good lesson nonetheless.

Jennifer also goes in on how the the ensemble is an extension of Burr's mind, especially during "The Room Where it Happens" (it's fascinating, you have to hear this) and explains how Hamilton's purposeful choreography and storytelling spoils performers forever.

Plus, we talk about Hamilton coming back to Broadway after the COVID-19 lockdown and how we both used to be insufferable nightmares who didn't have any work/life balance but we've both moved on from that nonsense and have changed for the better (thank god).

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Jennifer Geller has been in the ensemble of Hamilton since 2017 on the first national tour and she is currently on Broadway. In her first episode Jennifer talks about her fantastic experience with Bring It On and how amazing it was to tour North America and Japan doing a show she loves so much. Bring It On would eventually lead to an invitation to audition for Hamilton, but we have a lot of ground to cover before we get there including rescue dogs, deviated septums, physical therapists, and why you just gotta be nice!

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Shonica Gooden (Hamilton Broadway's Woman 4) first joined Hamilton in December of 2015, just in time for the full on Hamilton madness with the original cast, including that legendary trip to the White House. Shonica reflects on over ten years of Hamilton, explaining how her life experiences (being a mother, experiencing a pandemic, the rise of the Black Lives Matter movement) have changed her approach to the show. But guess what? She still looooooves it. She loves and respects all the time it took to really get it right and as Shonica says, "they didn't microwave it."

Shonica also talks about being a founding member and the Executive Artistic Director of the Black Artists Dance Collective, an alliance of Black dance professionals who vow to uplift, support, inspire, and empower Atlanta’s Black dance community. 

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Shonica Gooden (Hamilton Broadway's Woman 4) was born and raised in Atlanta, where she focused on what was supposed to be a thriving modern dance career. She had zero interest in musical theatre and didn't see herself as a triple threat. Luckily, her teachers at DanceMakers of Atlanta did see her as a triple threat and strongly encouraged Shonica to audition for Bring It On. This led to callbacks and work sessions with Alex Lacamoire and Andy Blankenbuehler, and it would prove to be the start of a beautiful friendship with The Cabinet. 

Shonica had the incredibly unique experience working with Andy Blankenbuehler in the pre-production phase of Hamilton, and she was one of the dancers Andy called to help him visualize what would end up being the choreography in the show. It was a shock to everyone (especially Andy) when Shonica turned down the opportunity to be a swing when Hamilton was transferring to Broadway. As Shonica explains, it was a terrifying decision that ended up being the right move.

Plus, Shonica talks about being a mother on Broadway including not feeling guilty about having a child, what needs to change in the industry, refusing to make excuses, and teaching her son that being busy is normal because she's not giving up her career anytime soon. 

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This week wraps up my series with John Devereaux, a standby on Hamilton's Philip Tour covering George Washington, King George III, Mulligan/Madison, and Lafayette/Jefferson. Remember when John told the story about booking Hamilton and almost passing on it? Yeah well that almost didn't even happen because this week you'll hear about how John actually did pass on the first audition! Yep, he just wasn't that into Hamilton. But then he heard Wait For It and couldn't stop crying and decided he absolutely had to be in the show. John walks us through his Hamilton process while also giving excellent advice (spoiler: whatever it is, take the note). He's also taking questions from the Patreon Peeps where you'll learn about "the multiverse of KGIIIs" and why he wants to sit down for a hard hitting interview with the real Aaron Burr.

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John Devereaux (standby on Hamilton's Philip Tour) is back for round two and this episode is all about authenticity and being as present as possible. For John, he never wants to "lose his elasticity", so a lot of his work as an actor has to do with constantly learning and being curious about himself and the world around him.

This week, John shares stories about what he describes as "being tested" in auditions (...or was it just racism? You be the judge) and discusses his fantastic experience on the Rent 20th Anniversary Tour. From the importance of integrity to the true meaning of legacy to the "do no harm, take no shit" way of life, John is laying it all on the table.

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John Devereaux is currently on Hamilton's Philip Tour covering George Washington, King George III, Mulligan/Madison, and Lafayette/Jefferson. He grew up in Houston, Texas, loving sports and wanting to eventually practice medicine. In high school, he did some friends a favor by stepping in as a last minute replacement but this does NOT mean he was a theatre kid, okay?! In fact, he went out of his way to make sure his bio in the program said that acting was just a hobby and he was *really* an athlete who was going to be a doctor. But we know how this story goes, right? He stepped on that stage and everything changed. Not overnight, of course. This week John talks about realizing he was too squeamish to be a doctor while in the middle of rotations, why a Monopoly reference made him ditch his business major, the beauty of being present on stage, and auditioning for Friday Night Lights.

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In her third and final episode, Sabrina Imamura ties up how she landed on the Hamilton's Philip Tour after starting with the original Angelica Tour in 2017 and making stops on Broadway (twice), the Eliza Tour (the Los Angeles sit down), and the And Peggy Tour (which kicked off in Puerto Rico).

Sabrina explains the importance of gigs that feed you creatively and why doing a show for the sake of it isn't really what she's about. You know what she *is* about, though? More stories about Asian people that don't revolve around war or politics or the fetishization of Asian women and people.

Plus, Sabrina goes in on her favorite books with the strongest female leads, why animals are the greatest, vintage project runaway talk, and our plea for JUSTICE FOR NATALIE FROM LOVE, ACTUALLY!! It'll make sense when you get there, I promise.

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Sabrina Imamura is back for round two and she's very candidly talking about her experience with anxiety, including having daily panic attacks on stage while performing in Hamilton on Broadway. Sabrina covers it all: what sparked the anxiety, how it attached itself to Hamilton and performing in general, the weight of keeping it all a secret, and how being open about everything led her down a much safer path. The bottom line is that no one has any idea what they're doing and we're all just trying to figure it out.

Sabrina has been a swing with Hamilton since 2017 starting with the original Angelica Tour and including stops on Broadway (twice), the Eliza Tour (the Los Angeles sit down), the And Peggy Tour (which kicked off in Puerto Rico), and is currently on the Philip Tour.

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