Vanessa Magula went from being a Hamilton superfan studying pre-health at UCLA to being cast as the standby for all three Schuyler sisters on the Philip tour. No, for real. Vanessa has always been a self-described theatre kid, evidenced by the fact that Deaf West's Spring Awakening is what inspired her to minor in Disability Studies, but it took her a while to take the leap and be a full time performer. After going to an open call for Hamilton in 2016 and being given a literal golden ticket for a callback, everything changed as Vanessa realized that - whether she booked Hamilton or not - this is what she wanted to do.

In between yearly Hamilton auditions, Vanessa thrived in the New York City improv comedy scene and even ended up collecting Yondr pouches during Freestyle Love Supreme's Broadway run.

Come join our instant bff vibes as we talk about our love of Hamilton (Vanessa saw it in September of 2015 hello!), Anessa Folds, Utkarsh Ambudkar (UTK), Lin's Warriors, and tons of other stuff.

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In their third episode, Paul Louis Lessard reflects on their one year anniversary playing King George III on Hamilton's Philip Tour. Booking the show was a surreal experience, but Paul is having the time of his life and has never felt more beautiful than when he's wearing those *perfectly tailored* KG3 costumes.

Paul also opens up about the unnecessary shame around vocal injuries and explains that has "vocal athletes", acknowledging issues and taking care of your voice is all part of the gig.

Plus, while answering questions from the Patreon Peeps, Paul discusses the value of barbershop quartets, his time making Rent quizzes online in high school (hi Adam Pascal and Daphne Rubin-Vega!), how his King George channels the Queen of Genovia, and why he's a synth pop fan for life.

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Paul Louis Lessard currently plays King George III on Hamilton's Philip Tour and this week they tell us about how playing King Herod in Jesus Christ Superstar helped them get there.

Paul was admittedly one of those people who had an "aversion" to Hamilton back in the 2016 era, but eventually he was listening to (and falling in love with) select songs like "Take a Break" and "Wait For It." But it was "You'll Be Back" that led him to write a Facebook post way back in 2016 letting the world know that one day he will be playing King George III. It didn't hurt that almost all of Paul's King Herod reviews mentioned a KG3 vibe, which Paul made sure casting knew about when he was auditioning for Hamilton almost eight years later in 2023.

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Paul Louis Lessard (he/they) is currently King George III on Hamilton's Philip Tour and this week is all about authenticity. Starting from a very young age, Paul describes the allure of performing as a siren song that was calling to them, even down to the intoxicating smell and feel of the show programs he'd pore over on the way home. Remember that smell?? And the feeling of staying up late on a school night going to a show?! The best.

Early in their career, Paul talks about how they truly felt their queerness was used against them, and once you hear about the shortsighted, close-minded jerks he had to deal with I'm sure you'll agree. After some time traveling the world he came back to New York City with a mantra that changed his life: fuck everyone and everything, I'm showing up authentically 100%." And that's when the gigs started rolling in.

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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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