Jonathan Bailey and Jeff Goldblum Sing, Laugh and Talk Getting Drunk During WICKED | Interview

When you got into the business, what was your man behind the curtain moment? What was, what was that moment where you realized, Oh, I thought it was going to be something, but it is not as great as I thought it was going to be. That's interesting. I like that. Yes. Yes. I didn't think of that. I agree. Did I just get applause? You know, cause they do replacements, you know, for a couple of weeks at a time in London, I think. Right. Okay. They asked me, where's Chicago? We're just in Chicago and actually he's been offered Velma Kelly and hasn't. That's right. The amount of money I would pay to see that. He had it coming. He had it coming. I like that. That's a successful movie taken from a stage musical. Don't you think? I think so. You know what else is wicked? Well, I agree. You like that? You like that? You like that segue? Thank you. Jake Hamilton from Chicago. Yes, sir. Chicago, Chicago, that Ramblin' Town, that Ramblin' Town. I saw a man, he danced with his wife. You know, I got you. I got you. And the other Sinatra, big hit, you know, my kind of town, Chicago is my kind. Right now my producers are going, Jake, shut the hell up. Gentlemen, thank you for your time. I appreciate you. I've always been fascinated with this concept of the man behind the curtain being sold extravagance, but then in reality you realize it's not nearly as impressive as you've been told it's going to be. You guys have been in this industry for a minute. When you got into the business, what was your man behind the curtain moment? What was that moment where you realized, Oh, I thought it was going to be something, but it is not as great as I thought it was going to be. That's interesting. That's a very good question. You know, oftentimes we like to talk about the other side of the coin, which is, this is a dream and to be in this magical thing is, but, but I have had things like that where I go and I'll tell you what I finally learned from it for myself. I go, Oh, this is the height of a Broadway show or this is the, these are the best people working in, but Hmm, that's just okay. And that's just okay. But you know, I think the lesson that I need to learn is that it's whether it's a little commercial or a little appearance in a mall in, you know, Boise, it can be a magnificent experience all determined by you and what you bring to it. It's not the heat that you derive from being near the fire. It's the fire that you bring to whatever it is. And oftentimes big things are, Hey, you know, I, it's up to me to make it whatever it is. Yeah. Beautiful. That's a beautiful answer. Yeah. Thank you. Beautiful answer. Um, I, I'm going to be honest with you. The amount of money, I do not have a lot of money, but the amount of money I would pay to see you perform dancing through life live, I would give everything I have to see it. Well, don't, I mean, you know, it's true too. The curtains are heavy, but we can go. I mean, I, Hey, I'm down for it. Whatever you've got in your pocket, whatever you've got in your throw down, throw down. I love your shoes. They're all yours, man. Can you, can you go on point? Can you dance in those? Could I dance? Oh, these shoes. Oh yeah. But it can't do attitude. You can do anything. Listen, Jonathan Anderson allows anyone to dance. I know. Look at that. Look at that. What I want to ask is I believe the, the original theater that housed wicked on Broadway, the Gershwin held about 1900 people. I think 1933 people, it's the biggest house I believe in Broadway. So I was wondering, what is a moment, a song, a line, a moment that you have that you would love to perform in front of 1933 people to know what sort of energy you're getting back to get that immediate reaction from an audience member. Oh, well, from wicked obviously. Yeah. I mean, I would like to, I mean, dancing through life would be amazing to be, to, to, to rally 1,900 people. Although filming this film, there's about 1,900 people on set that you don't see, but they're very quiet and they're slightly bored. Um, and I, yeah, I would love to be present for any of the numbers in wicked. I think I've been to see that. I think I've been to see wicked about seven times over 21 years. So once every three years, I'm doing another visit. Although I did see it just before I actually, I did too. I got secretly offered the job and they said, you mustn't tell anyone. And so I got all my friends together. We got really drunk and we went to go and see in London. I'd say we got really drunk. We had a few bit. Um, we had a couple of bottles whilst we were watching. Um, and I think that was probably quite alarming too. Well, you know, just a little bit before the interval. I see. Wow. We're in London, in London. We must've seen the same cast. Cause I, just before I started, I went to see the cast in London cause we were filming there. I've just gone already took my kids seven and nine and my wife, seeing it through their eyes, crying, crying, crying, crying. But the moment that you see like dancing through life in itself, but also the moment that reminded me is when these two girls on stage, when you're following their dance at the Oz dust. And, and also obviously when she flies at the end of that one, it's a coup de theatre is one of the iconic theatrical moments. And to see the film, which we saw for the first time with an audience in Sydney, like to see those moments being realised. And then, and then some is like brings me goosebumps because I've been a fan and now to be a part of it and still be a fan of, you know, I'm romantic about the theatre and performing in the theatre, seeing the theatre, sometimes the naivete of that and the liveness of it and the commune communal increases the wonderment. But I tell you, I think I'd rather have a job in this show, it doing the movie where I think a lot of people are going to see it. And John Chu can, well, et cetera, et cetera, et cetera. You only have to do it once, not eight shows a week. And that's the hard when you were asking the question earlier about the, you know, behind the curtain. I just think about, you know, when you're four weeks into a West End run or a run of a play and you've got seven months to go and you go, that's something that I didn't know when I was getting into it because these performers make it look effortless. And that is the job, the practice of theatre, which we all come from. It's fun. It's a good exercise. It's a good developmental muscular thing, but it's, that's right. You know, if for no other reason, if the scales hasn't haven't fallen from your eyes and the enchantment hasn't worn off, if you're asked to do eight performances at some point in that week, or in that year that you do it, you're going to go, what's so delicious about this? I better find the nourishment in this and deliver it. And that's why we pay respect. And hopefully this is a love letter to everyone. Who's performing eight shows a week. When this movie ended, if you don't mind, I quoted one of your characters. I said, he did it. You crazy son of a bitch. You did it. Yes. Yes. I didn't think of that. I agree. Did I just get applause at the end? Sorry. Yeah. Thank you so much. I really do love you guys. Thank you guys for everything.